Melissa McCarthy returned to "Saturday Night Live" as White House Press Secretary Sean Spicer, this time dressed as the Easter Bunny.

Spicer really did play the furry white animal when he was a spokesman for the US Trade Representative under President George W. Bush in 2008:

After shooing children gathering Easter eggs, McCarthy recapped Spicer's flub that garnered wide ridicule this week, when he incorrectly said Adolf Hitler didn't use chemical weapons. Spicer later apologized for his "inexcusable and reprehensible" comments, but McCarthy had to bring it up.

"They were all like, 'Boohoo, what about the holocaust centers?' And yeah, I know they're not really called 'holocaust centers.' Duh! I know that. I'm aware. I clearly meant to say 'concentration clubs,'" McCarthy said. "It would be really great if the nitpickers could try to see the big picture, and didn't focus on every single little slur and lie I say — that'd be nice! And P.S. I'd like you also to know I am sensitive to the fact that they were sent there on trains, but hey, at least they didn't have to fly United, am I right?"

Using "baby dolls" as props, McCarthy then incorrectly explained the story of the Jewish holiday of Passover.

"That about wraps it up for me. Happy Easter, everybody! Oh and by the way, the president's probably going to bomb North Korea tonight," she said. "Spicey's got to hippity-hop and deliver these eggs. Everybody just eat as much candy as you want, 'cause this is probably our last Easter on Earth."

Watch the full clip below:

SEE ALSO: Sean Spicer's bizarre Hitler comment sparked a massive backlash

DON'T MISS: Sean Spicer makes bizarre claim that Hitler never used chemical weapons

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NOW WATCH: Here are the most controversial things Sean Spicer has said as press secretary

As a devout "Rick and Morty" superfan, I'm often an evangelist. "You haven't seen 'Rick and Morty'? How lucky you are to get to experience it for the first time, totally fresh!" I might say.

It's one of those shows — like "Arrested Development," or "Community," or "Tim and Eric Awesome Show Great Job!" — where it's almost as famous for its cult following as it is for the show itself.

While fans eagerly await the much-anticipated third season (expected to arrive this summer on Adult Swim), there's a new game starring "Rick and Morty" that's planned for a much sooner launch: "Rick and Morty: Virtual Rick-Ality."

Sounds ridiculous (Rick-diculous?), right? It absolutely is. I spent 20 minutes with the game at a recent event. Here's what it's like!

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The premise is simple: You're a clone of Morty, and you're tasked with completing various insane objectives by — who else? — Rick Sanchez.

The structure of "Virtual Rick-Ality" is similar to that of "Job Simulator: The 2050 Archives," which makes sense given that the same company made both games (Owlchemy Labs). 

In "Job Simulator," you were tasked with — as the title suggests — simulating various jobs in VR. The twist is that all the jobs were re-creations of mundane tasks as viewed through the perspective of intelligent robots that run society in the distant future. Something as simple as being a short-order cook became a comical and ridiculous experience, with ingredients flying everywhere in a "Muppets"-esque fashion.

"Virtual Rick-Ality" takes that concept and moves it into a more narrative-based progression. There are momentary tasks that feel panicky in the same way many "Job Simulator" levels did, but you're just as likely to spend 10 minutes exploring every nook and cranny of the space you're in. And "Virtual Rick-Ality" rewards that exploration with delightful little nods to the series, from Mr. Meeseeks to Blips and Chitz.

My playthrough started in the family garage, seen here.

You can "teleport" around the garage — the room is divided into four areas (three of which are explorable) — as a means of completing early tasks for Rick. In my 20 minutes with the game, I fed an alien who's imprisoned underneath the garage, traveled to a satellite in space (through a portal, naturally), and used a Meeseeks to retrieve a package from the driveway. Seemingly simple tasks, perhaps, but made all the more enjoyable by the ongoing communications from Rick.

Let's be up front here: You need a powerful computer and an Oculus Rift or HTC Vive headset in order to play "Rick & Morty: Virtual Rick-Ality."

You'll also need a pair of Oculus Touch controllers if you're using the Rift, or a pair of HTC Vive controllers with the Vive, as the game is built entirely for the "room-scale" VR concept — which is to say that the game requires a powerful PC, a high-end virtual reality headset, motion controllers, and an open space to play it.

In case that isn't clear enough, we're talking about the deep end of VR here. To play this game, you're either one of these people who has a dedicated VR room or you're friends with someone who is. It's rad if you are that! If you're not, there's no other way to play "Rick & Morty: Virtual Rick-Ality" at the moment. And that's less rad. 

(As a consolation prize, there is another "Rick & Morty" game — "Pocket Mortys" — available for smartphones. I hear it's pretty alright, in the style of "Pokémon" games, but I've not played it.)

"Saturday Night Live" had a field day yesterday in its long-running mockery of President Trump's and his administration's blunders throughout the first 100 days in office.

The show's latest cold open featured Alec Baldwin, who once again reprised his role as Trump, Jimmy Fallon as Jared Kushner, and a man dressed as the Grim Reaper, who portrayed White House chief strategist Steve Bannon. The skit also featured Beck Beckett as Vice President Mike Pence.

The skit opened with Baldwin's Trump and Beckett's Pence in the Oval Office, recapping a list of Trump's accomplishments, which included just one item: nominating Neil Gorsuch for the Supreme Court.

It then segued into a sequence poking fun at reports of infighting between Kushner and Bannon, who White House insiders say have built up some bad blood given their competing ideologies. After Beckett – as Pence – urged Baldwin to settle the dispute between two of Trump's top advisers, Baldwin relented.

"Fine. Send in Steve Bannon. Send him in," Baldwin said. 

A man dressed as the Grim Reaper then entered the office as ominous music played in the background. 

"Steve, wow, you've never looked younger," Baldwin said, as the Grim Reaper nodded. 

Baldwin continued, "And now, send in my little 'Kush ball,' Jared Kushner." Jimmy Fallon then strutted into the room, donning a suit, bulletproof vest, and sunglasses – a reference to the way Kushner was dressed when he first visited Iraq and met with troops earlier in April. 

"Boys, I've called you here tonight for an important reason," Baldwin said, once the audience's laughter had died down. 

The lighting dimmed down and anticipatory music played in the background as Baldwin continued speaking, marking the beginning of a scene that was filmed as an elimination round, "The Apprentice" style.

"Standing before me are my two top advisers," Baldwin said. "But I only have one photo in my hand. That's right, tonight is elimination night. There's been a lot of drama in the house, and that's okay, but one of you must go, now."

"Jared, you take the most beautiful photos," Baldwin said, while Fallon feigned embarrassment and looked down before smiling at the audience. 

"Steve, you take the worst photos I've ever seen in my life, I'm not joking," Baldwin continued, speaking to the Grim Reaper. "When I see a photo of you, it makes me want to puke," Baldwin said, as Bannon's character continued to nod in agreement. 

Speaking again to Fallon, Baldwin said, "Jared, I've sent you all around the world to represent me, but no one's ever heard you speak," an apparent reference to Kushner's reticence when he's in public or in front of the media. "You're like a little Jewish Amelie."

He continued: "And Steve...Steve, you may be smart, but I once walked in on you eating a live pig in the Roosevelt Room." 

Bannon's character laughed and replied, "Yeah." 

As ominous music again started playing in the background, Baldwin said, "Moment of truth. The photo in my hand represents the man who will be staying tonight. You will get to keep advising me, and you will also get $100,000, courtesy of L'Oreal."

He continued: "If you do not see your photo, you must immediately leave the Oval Office and join Kellyanne Conway in the basement." That line seemed to poke fun at reports of Kellyanne Conway's decreasing visibility in the Trump administration after a series of on-air blunders during interviews with cable news shows. 

"But don't worry, your journey does not end tonight, because you will get to come back at the end of all of this and help send me to prison," Baldwin said. 

Baldwin then announced that Kushner will be staying on as his top adviser and calls on someone to "take [Steve] back to hell." Bannon's character, the Grim Reaper, was dragged out the door by another, larger Grim Reaper.

The ending of the elimination round seemed like an allusion to reports of Bannon's waning influence in the president's inner circle as Kushner and more centrist forces in the West Wing have gained Trump's trust. 

Watch the full cold open below:

SEE ALSO: Steve Bannon may be on his last legs in the White House

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NOW WATCH: Former State Department official: Evidence of collusion between Trump and Russia would create a 'constitutional crisis'

Sam Richardson quickly became a fan favorite on the HBO series "Veep" when he came on in season three as Richard Splett, the good-natured campaign aide to Selina Meyer (Julia Louis-Dreyfus) who seems to be unfazed by all the insulting and backstabbing that goes on around him.

Richardson has since become a series regular on the show. Last season, Richard hilariously assisted Jonah Ryan's (Timothy Simons) congressional campaign, and in the premiere episode of season six (which aired Sunday), we now find him as the chief of staff to now ex-president Meyer, who's trying to figure out her next move.

Richard is ready with incredible responses for the rest of the cast's sarcastic style, taking every single outlandish comment at face value and responding with a monotone, sincere response that has made the character so memorable.

Richardson talked to Business Insider about Richard's new position on the show, how pulling off the perfect Richard response is harder than it looks, and why it's challenging for him to go into an Apple store anymore. 

Jason Guerrasio: You've said in the past that Richard is the only character in the "Veep" universe that isn't working an angle. But do you think he has aspirations beyond what he's doing?

Sam Richardson: I don't know. I think he would be happy to go up or down the ladder. I think if he got bumped down to something else he would be like, "Well, at least I have experience at this." And if he goes up he would be, "Oh, okay. Well, a new challenge." So the thing with Richard is he has no specific ambition. It's like, he has two doctorates, but he doesn't seek out to follow those paths. He just does whatever he flows to.

Guerrasio: In the first episode of the new season, Richard has some amazing responses to things Selina says. She says she should get a spot on Showtime at the Apollo, and Richard says, "I'll check on that." Or when she talks about getting food stamps, he says, "I'll look into an application." The delivery is crucial. It always seems to be a beat after Selina says it. Do you practice that delivery?

Richardson: Part of what Richard does is there's no time to filter for him. So everything is at face value. With his responses he's saying it before even thinking about what was said. I have worked mostly with Tim Simons but I think Julia and I have a rhythm that we can play off of. So whatever is in the script, we can add that timing.

Guerrasio: Is that timing developed at the table read or not until you are about to shoot?

Richardson: The table read gives you an idea of what the jokes are. It's more, "Let's see the jokes work," so that timing doesn't actually come in until you're doing it [on set].

Guerrasio: And when it comes to nailing the jokes, do you guys just do a couple of takes?

Richardson: We'll do a bunch of takes because along with shooting all the angles, the scenes can be long and the problem I have is I've made this character speak so quickly that I'll marble-mouth sometimes some of those bits. So it takes a few to get it where it needs to go.

Guerrasio: How has the Richard character evolved? Did you play him differently when you auditioned?

Richardson: When I went in to audition I think I played him, not wily, but I played him like he was covering his own a-- a little bit. Just a touch more of that. From the audition I saw him as this person who was a step behind but is fortunate enough to be on the same page as everyone else. If that makes sense.

Guerrasio: Well if I had never seen the character before, that wouldn't.

Richardson: [Laughs]

Guerrasio: But when you see the character on the show it makes total sense.

Richardson: Yeah. Honestly, we never really had many conversations about him early on. When I first came on the show I was a one-episode guest. So at the table read I just did my interpretation. Then when we improvised some of the scenes I just played what I thought felt right. Little quips here and there. And the writers and [series creator] Armando [Iannucci], they liked that direction and then wrote those things into the script. I think we're all in agreement on what Richard is like.

Guerrasio: Is there still an aspect of doing the Richard character or being on this show that's the most challenging for you? That you will always have to work on no matter how long you are on it?

Richardson: The pattern that Richard speaks in. Specific details that he's got to say. And I have really set myself up because everything I'm saying is so fast already that when I have to say the names of magazines, or a kind of list of things I have to say it's like, "Okay, you've done this to yourself, Sam." That's really the challenge, keeping up with the rhythm of speak that Richard has.

Guerrasio: Give me your craziest fan experience.

Richardson: When I wear glasses it happens often. And I'm always recognized when I go to the Apple store. It's always a black guy wearing glasses. It's like, "Hey man, love you on the show." [Laughs] Every time. I'm like, okay, guess this is my audience.

Guerrasio: You are also the star on the new Comedy Central series "Detroiters," which you cocreated. Is that your first time writing a series as opposed to bits?

Richardson: It is.

Guerrasio: What's that been like?

Richardson: It's been a learning experience, for sure. Joe Kelly, who is another cocreator and writer on the show, has written for sitcoms before, so we follow his guidance on narrative structure and how to piece together a half-hour TV show. It's been fun to see that and then do our own thing off of that. Our instinct is funny first, but obviously you also have to tell a story. And we're from Detroit so we're telling the story while also giving the city a shoutout.

Guerrasio: And then for you, it was a conscious decision to make sure your character doesn't wear glasses and speaks a different way from Richard.

Richardson: Yes, exactly. And it's fun to do new things. And I hope I get to continue to do that.

Guerrasio: So last question: Do you have a favorite Richard line so far?

Richardson: I think it's when he introduced himself to Tom James [Hugh Laurie] and he says, "I'm Richard T. Splett. I don't know why I said 'T' — my middle name is John." That one follows me the most and I love that line.

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NOW WATCH: 7 storylines we hope are resolved in season 7 of 'Game of Thrones'

White House press secretary Sean Spicer posed with the Easter Bunny at the annual White House Easter Egg Roll on Monday — and it provided a glimpse into "the good ole days" of his own past at the event.

He posted a photo to his Instagram account:

Spicer really did play the White House Easter Bunny when he was a spokesman for the US Trade Representative under President George W. Bush in 2008.

After photos of him in the costume resurfaced, Spicer jokingly tweeted: "What I would give to hide in a bunny costume again."

Spicer has endured repeated ridicule since becoming President Donald Trump's press secretary in January. Last week, in perhaps his most visible stumble yet, he incorrectly said Adolf Hitler didn't use chemical weapons. After widespread criticism, Spicer apologized for his "inexcusable and reprehensible" comments.

Melissa McCarthy returned to "Saturday Night Live" as Spicer on Saturday, this time dressed as the Easter bunny, mocking his recent flubs (and that time Spicer dressed up as the furry white animal).

The annual Easter Egg Roll is one of the most high-profile events that takes place at the White House each year — both for Washingtonian families and the First Family, which is often judged by the event. The Easter Egg Roll dates back to 1878, when President Rutherford B. Hayes opened the gates to the Executive Mansion.

SEE ALSO: Melissa McCarthy returns to 'SNL' as Sean Spicer in an Easter Bunny costume

DON'T MISS: How the White House Easter Egg Roll became one of the oldest White House traditions in history

Join the conversation about this story »

NOW WATCH: Here are the most controversial things Sean Spicer has said as press secretary

On Sunday’s episode of "Last Week Tonight," John Oliver broke down the upcoming French presidential election, and ended the segment with a powerful message for the people of France.

Oliver spent some time on his HBO show covering candidate Marine Le Pen, who is the president of the far-right National Front. Le Pen is anti-immigrant, and wishes to ban the wearing of hijabs, turbans, and yarmulkes in public.

Oliver played a clip from an interview with Le Pen from 2012 in which she said, “Would you accept 12 illegal immigrants moving into your flat? You wouldn’t. On top of that, they start to remove the wallpaper! Some of them would steal your wallet and brutalize your wife.”

“Hold on: brutalizing your wife and stealing your wallet, again, that’s just boilerplate racism. But ‘people are coming to take my wallpaper’ is something a crazy person says," Oliver said. “No one wants your wallpaper, you catastrophically weird person!” 

Oliver also made an appeal to French people's sense of superiority.

“You in France love nothing more than acting like you are better than America. Well, now is your chance to prove that. Because we made populist, nativist choices with Brexit and Trump. And to be honest, it’s not working out so great for us so far,” Oliver said. “Just imagine how superior you can feel if you don’t make the same mistake that we did.”

Oliver then tried to convince France to listen to him in the “restrained manner” that the French supposedly prefer. The color changed into black and white, and Oliver’s desk was transformed into a French bistro with a man playing the accordion. 

“Don’t f--- up, too,” Oliver said in French while smoking a cigarette. 

Watch the whole John Oliver segment below:

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MINNEAPOLIS — A court document says a doctor prescribed oxycodone for Prince under the name of the musician's friend to protect his privacy.

Prince was 57 when he was found alone and unresponsive in an elevator at his Paisley Park home on April 21.

Autopsy results showed he died from an accidental overdose of fentanyl, a synthetic drug 50 times more powerful than heroin.

According to search warrants unsealed Monday, authorities searched Paisley Park, cellphone records of Prince's associates, and Prince's emails to try to determine where he got the fentanyl that killed him.

The documents suggest Prince was struggling with prescription opioid addiction.

One affidavit says Dr. Michael Todd Schulenberg admitted he prescribed oxycodone for Prince in a Prince's associate's name "for Prince's privacy."

Oxycodone, which is in the opioid family, is a strong painkiller and controlled substance, with a dangerous potential for abuse and addiction.

A message left with Schulenberg's attorney wasn't immediately returned.

Associates of Prince have said that the artist was in constant pain near the end of his life from years of performing, which may have been the initial reason for opioid use. They've also said there was an attempt to get Prince into rehab before he died.

It's been nearly a year since Prince died from an accidental drug overdose at his suburban Minneapolis estate, yet investigators still haven't interviewed a key associate or asked a grand jury to consider whether criminal charges are warranted, according to an official with knowledge of the investigation.

Prince was 57 when he was found alone and unresponsive in an elevator at his Paisley Park home on April 21. Authorities later said he died of an overdose of fentanyl, a powerful synthetic drug. They still don't know the origin of those drugs and there has been no indication that they are poised to hold anyone responsible anytime soon.

On Monday, search warrants executed by local authorities are due to be unsealed, likely including one from the first search of Paisley Park.

SEE ALSO: Inside Prince's massive $10 million mansion where he was found dead

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NOW WATCH: 7 storylines we hope are resolved in season 7 of 'Game of Thrones'

Last week, news broke that several cable networks were trying to put together a sports-free online TV package for less than $20 a month.

The thinking goes like this: Sports rights are incredibly expensive, and tons of people are paying for sports they don’t watch in their cable bundle. In 2016, ESPN alone cost $6.10 in carriage fees per subscriber. 

So why not have an option where you can chop off sports and pay a cheap rate for a good entertainment-only bundle. Makes sense, right?

Not exactly.

The main problem is that the parent companies of the major broadcast networks — NBC, ABC, CBS, and Fox — have paid a lot for sports rights, so they want no part of a bundle that makes sports seem less vital. The cable networks they own are also out. Bye-bye FX.

Who is left in this bundle then? Bloomberg reported that Viacom, Discovery, and AMC are looking to make a deal with distributors. Rich Greenfield, a BTIG analyst and noted ESPN skeptic, told Business Insider he also thinks that Turner, which owns CNN, TBS, and TNT, would be “very interested” — even though Turner owns a fair amount of sports. Throw Scripps in there too. (Greenfield also said A&E, which is jointly owned by Hearst and Disney-ABC, could be a possibility.)

Those five (or six) put together could make a pretty compelling cheap bundle. You’d get a spread of programming from CNN’s news, to AMC’s quality dramas, to Comedy Central or the Food Network. There would be some non-sports holes from cable networks owned by the broadcasters, like Fox News or USA. But you wouldn’t have to miss the marquee broadcast networks themselves, since all you need is a $25 digital antenna to tune in. They are free, after all.

“All [the broadcasters] want to make people forget that antennas exist,” Greenfield said.

If you could keep that bundle priced at $15-$20, paired with a slick interface and on-demand options, Greenfield thinks 5-10 million homes could be interested. By cutting out the broadcasters, you would also avoid the complicated regional rights issues that have caused geographic headaches for services like DirecTV Now and YouTube TV.

The Have-Nots

But why are these cable networks trying to put together a sports-free package now?

Mostly it’s because they are feeling squeezed by getting left off some of the new online bundles coming out. The idea of many of these new services is to offer a lower-cost cable alternative, but that means something has to give in terms of programming. Take YouTube TV, for example, which costs $35 a month. AMC recently got into the bundle, but all the other cable networks that aren’t tied to a broadcaster have been cut out, including Turner. And they are angry. Some of those cable-only companies will get chopped off Hulu’s upcoming service as well.

“Our conversations with investors certainly indicated a ‘have’ and ‘have not’ view of media stocks domestically, with [bigger companies] (the Haves) able to leverage their large breadth of content into something near full carriage on emerging distribution packages like YouTube TV, perhaps at the expense of the Have Not [small to medium companies],” RBC analyst Steven Cahall wrote in a note to clients Monday.  

“Broadcasters try to make everyone else feel like losers,” Greenfield said. “Those losers are going to turn around and try to be winners.”

The wrath of the broadcasters could, however, spell problems for distributors that might want to sell a no-sports bundle. Some of the contracts cable and satellite providers have signed with heavyweights like Disney and Fox are loaded with fine print designed to stop new bundles like this. In 2015, Disney-owned ESPN sued Verizon over a sports-free bundle.

But if those issues can be worked out, the “loser bundle” could be a winning proposition, at least for some young people who aren’t into sports or paying $100 a month for cable. Paying $20 or less, they'll also have a bit of room to add Netflix, Hulu, Amazon, or HBO Now to the mix depending on your preference.

The big question will be how easy it will be to integrate this bundle in with your digital antenna. In some ways, the broadcasters are right: Losing NBC, CBS, ABC, and Fox would be too much for many people. But Roku TVs already put the broadcast channels in the same interface as apps like Netflix and Hulu, and there are even ways to get a DVR without cable, though it comes with an added cost.

Still, if those hardware and software elements continue to improve, the “loser bundle” plus broadcast channels could become a viable option for people that just aren't that into sports. But chances are it won't happen without a fight.

SEE ALSO: Sports-free TV bundles could kick off soon

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Now in its eighth year, the Neon Carnival— one of the most notorious after-parties during the Coachella Valley Music and Arts Festival — raged on in Thermal, California, this past weekend.

While unaffiliated with Coachella, the invite-only event has become popular with both celebrities and fans who are attending the music festival.

This year, celebrities like Leonardo DiCaprio, Drake, Rihanna, Selena Gomez, and Diddy were spotted at the star-studded event. Ahead, take a look inside the party. 

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Neon Carnival is a giant dance party complete with amusement park rides, games, and photo booths.

The party is hosted on a landing strip at the Desert Resorts Regional Airport in Thermal, California.

DJ Ruckus played for the massive crowd.

Director Rian Johnson has been dishing some small but welcome details throughout interviews about his “Star Wars: The Last Jedi,” amid Star Wars Celebration and the release of the teaser trailer.

In an interview on “Good Morning America," Johnson discussed the burning questions fans have had about the title since it was first annoucned. Specifically, whether the “Jedi” in the title is plural or not. And, if it's singular, who is the "last Jedi"?

“It’s so funny, when people started asking that when the title was announced because I had never even pondered that question," Johnson said. "That seems like, to me, the most, like — uninteresting, I guess. In my mind, it’s singular.” 

When the woman interviewing him said, "so the last Jedi would be Luke," Johnson got a little vague. 

“Well, if you say so," he said. "I’m gonna take your word for it. They say in 'The Force Awakens' that he’s going to find the last Jedi temple, and Luke is the last Jedi.”

Ok, so that's kind of a confirmation. Almost. But it is better than nothing for now. 

You can watch a clip from the interview below:

SEE ALSO: The first trailer for the next 'Star Wars' movie is here!

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The White House on Monday hosted the 139th annual Easter Egg Roll, which was expected to include some 18,000 (wooden) eggs and at least 21,000 guests on the South Lawn.

This year's Easter Egg Roll will be smaller than those of past years (35,000 people attended the Obamas' final event). President Donald Trump, first lady Melania Trump, and their 11-year-old son, Barron, who lives in New York City with the first lady, hosted kids and costumed characters at the executive mansion.

The event— which has been described as the "Super Bowl of White House social events" — is an early test for Melania Trump, whose office is responsible for organizing the day.

There were signs that planning for it got off to a rocky start when, in February, the wooden-egg manufacturer, Wells Wood Turning, tweeted a reminder of the deadline for ordering the commemorative eggs.

"It's the single most high-profile event that takes place at the White House each year, and the White House and the first lady are judged on how well they put it on," Melinda Bates, who organized all eight White House Easter Egg Rolls under President Bill Clinton, told The New York Times the week before the event.

"I'm really concerned for the Trump people, because they have failed to fill some really vital posts, and this thing is all hands on deck," Bates said.

See how the Trump's Egg Roll turned out:

SEE ALSO: Sean Spicer relives his time as the White House Easter Bunny at the annual Egg Roll

DON'T MISS: Melissa McCarthy returns to 'SNL' as Sean Spicer in an Easter Bunny costume

"Looking forward to hosting the annual Easter Egg Roll at the @WhiteHouse on Monday!" Melania Trump said on Instagram on Friday.

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The first lady addressed the crowd from the Truman balcony on Monday.

President Trump spoke to the crowd alongside the White House Easter Bunny.

4DX combines motion, fog, rain, lightning, scent, wind, and other elements to basically make you feel like you’re living a movie along with the characters. The technology has been around since 2009, but it's getting bigger and spreading to more theaters across the US. For now, you can catch a 4DX screening at nine theaters in the US. 

I watched "The Fate of the Furious" in 4DX to tell the world what it's like. 

And it's overwhelming at first. Imagine Star Tours at Disney World, but for two and a half hours. And with Vin Diesel, The Rock, Jason Statham, and the "Fast and Furious" "family."

When the seats first started moving and vibrating, I was rolling my eyes. And also thinking about which bag I wanted to throw up in. But after about a half-hour into “The Fate of the Furious,“ the movements felt right, and not sudden or abnormal. 

I wanted to go into this experience blind. My expectations were exceeded. I thought teverything would be more subtle. Like the movie itself, 4DX is anything but subtle. It is exactly like a thrill ride. So if those make you vomit, maybe stick to a relaxed, regular movie. 

Because “The Fate of the Furious” relies so much on action that the 4DX seats can easily emulate, it was the perfect movie for it. A movie like “La La Land”? Not so much.

Here's what it was like to see "The Fate of the Furious" in 4DX:

SEE ALSO: Why 'Fast and Furious' fans will love 'Fate of the Furious,' even though it makes no sense

Before you enter the theater, there’s a (long) warning.

I’m probably the only person who has ever read the whole thing. I thought it was a bit dramatic, but I would soon be proved wrong.

One perk to the "you must be this high to ride" rule? No small kids talking during your movie.

If there were scents during this movie, I definitely didn't notice them.

Mark Hamill has revealed his own idea he had for Han Solo's tragic demise in "Star Wars: The Force Awakens," and it's gotten the army of "Star Wars" fans very excited.

While talking to a reporter at the recent Star Wars Celebration, the Luke Skywalker actor revealed how he wished Han Solo's death scene would've played out in "The Force Awakens," in a way that would have involved a reunion for Luke and Han and Leia (sort of).

When Hamill first read the script for "Force Awakens," he said he thought of how he would have liked to see Luke, Leia, and Han in the same place one final time. Han's death at the hands of his own son, Kylo Ren, would have stayed intact, but with some new players. Here's what he said:

When I was reading it, I thought if Leia is trying to mentally contact me and she is unsuccessful, she’ll rush to his [Han’s] aid and get into some dire situation, and that’s when I show up. I save her life, and then we rush to Han, and then we are in the same position that Rey and Finn and Chewie are—too late to save him, but witnesses.

The death of Han Solo toward the end of the movie was already emotionally wrenching, but the addition of Luke and Leia as witnesses would have made it more so. Then again, it also would've undercut the subplot of Luke's absence. And bringing him and Leia onto the Starkiller Base, with everything else (including Rey's duel with Kylo Ren), might've just been too much to follow.

Still, it's hard not to want to see Hamill's alternate "Star Wars: The Force Awakens" cut.

See Mark Hamill talk about his idea for the alternate ending below:

SEE ALSO: All the 'Game of Thrones' deaths, ranked from least tragic to most tragic

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What is eSports? History & Rise of Video Game Tournaments

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, as the history of eSports continue to unfold, 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. And YouTube also wanted to jump on the live streaming gaming community with the creation of YouTube Gaming.

eSports Market Growth Booming

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.

What started as friends gathering in each other's homes to host LAN parties and play into the night has become an official network of pro gaming tournaments and leagues with legitimate teams, some of which are even sponsored and have international reach. Organizations such as Denial, AHQ, and MLG have multiple eSports leagues.

And to really understand the scope of all this, consider that the prize pool for the latest Dota 2 tournament was more than $20 million.

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, along with the large and growing scene of eSports betting and gambling.

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.

eSports Industry Analysis - The Future of the Competitive Gaming Market

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.

And industry statistics are already backing this valuation and demonstrating the potential for massive earnings. To illustrate the market value, market growth, and potential earnings for eSports, consider Swedish media company Modern Times Group's $87 million acquisition of Turtle Entertainment, the holding company for ESL. YouTube has made its biggest eSports investment to date by signing a multiyear broadcasting deal with Faceit to stream the latter's Esports Championship Series. And the NBA will launch its own eSports league in 2018.

Of course, as with any growing phenomenon, the question becomes: How do advertisers capitalize? This is especially tricky for eSports because of its audience demographics, 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 eSports industry facts and statistics 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. >> START A MEMBERSHIP
2. Purchase & download the full report from our research store. >> BUY THE REPORT

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The billionaire entertainment mogul David Geffen has set sail on his $590 million luxury yacht, Rising Sun, and as usual, he has a ton of boldface names with him, including the Obamas.

The 74-year-old mogul is known for cruising the high seas with celebrity guests. This time, he was joined by Barack and Michelle Obama, who were vacationing with Oprah Winfrey, Bruce Springsteen, and Tom Hanks.

Last year, Karlie Kloss, Leonardo DiCaprio, and Mariah Carey were all pictured aboard the 454-foot megayacht.

Aly Weisman contributed reporting to an earlier version of this post.

SEE ALSO: The Obamas have been on a tropical tour since leaving the White House — here's where they've been so far

This is David Geffen. He's a founder of DreamWorks SKG, Asylum Records, Geffen Records, and DGC Records. He's worth $7.4 billion.

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Source: Forbes

Geffen owns Rising Sun, a 454-foot megayacht that was originally built for Oracle founder Larry Ellison.

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Source: Forbes

Geffen bought a half-share in Ellison's yacht in 2007, then another half in 2010, for a total of $590 million.

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Source: Forbes

Netflix missed its subscriber growth targets during the first quarter, blaming the shortfall on slight delays in the release dates for some of its most popular shows.

The video streaming service insisted that the lower-than-expected Q1 subscriber growth in both domestic and international markets did not signal any change to its long-term growth expectations. 

In fact, Netflix turned in a rosier forecast for Q2 than Wall Street was expecting, both domestically and internationally. And the company said it expects to cross the 100 million member mark for its service during the coming weekend.

Netflix stock was down roughly 4% in the immediate aftermath of the earnings announcement, but rebounded and was up 1.4% in after hours trading on Monday.

Here are the key numbers:

• Q1 EPS (GAAP): $0.40, versus Wall Street forecasts of $0.37.
• Q1 revenue: $2.64 billion, up 35% year-over-year, versus Wall Street forecasts of $2.65 billion.
• Q1 US subscriber growth (net additions): 1.42 million, versus Wall Street forecasts 1.59 million, and Netflix guidance of 1.5 million.
• Q1 international subscriber growth (net additions): 3.53 million, versus Wall Street forecasts 3.9 million, and Netflix guidance of 3.7 million.
• Q2 subscriber growth guidance (domestic): 600,000, versus Wall Street forecasts of 420,500.
• Q2 subscriber growth guidance (international): 2.6 million, versus Wall Street forecasts 2.1 million.

In a letter to shareholders, Netflix said that in regards to its Q1 performance, though it missed relative to guidance, "There were no substantial variations from our January guidance forecast." Netflix said that due to certain content moves, particularly moving "House of Cards" from Q1 to Q2, some net additions to its subscriber count also shifted from Q1 to Q2. The increased forecast for Q2 supports this theory.

"We have come to see these quarterly variances as mostly noise in the long-term growth trend and adoption of internet TV," Netflix wrote.

In the letter, Netflix addressed competitor Amazon's move into NFL football streaming. "That is not a strategy that we think is smart for us since we believe we can earn more viewing and satisfaction from spending that money on movies and TV shows," Netflix said.

The company reiterated that it doesn't see the emergence of new streaming TV packages as a threat, again stressing that the "live" business model is different from its own. "We don’t think it will have much of an impact on us as Netflix is largely complementary to pay TV packages," Netflix wrote. "Our focus also is on on-demand, commercial free viewing rather than live, ad-supported programming."

SEE ALSO: http://www.businessinsider.com/millennials-love-netflix-stock-2017-4

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New court documents reveal how Prince was able to keep his use of dangerous opioid painkillers hidden, leading up to his accidental overdose and death last year.

Unsealed documents show that "a sizable amount" of painkillers was found around Prince's Paisley Park compound outside of Minneapolis, and the artist did not have prescriptions for them, according to The New York Times. Some of the pills were concealed in containers for over-the-counter medications like vitamin and aspirin bottles.

Other prescriptions were issued in the name of a close aide, according to the Times.

In one affidavit, a doctor admits to prescribing Prince the opioid oxycodone on April 14, just a week before Prince's death, but the prescription was made in the name of Prince's friend for "privacy."

Search warrants and affidavits from the Carver County Sheriff’s Office, which is investigating Prince's death, were unsealed on Monday.

There is still no known answer to how Prince got the opioid fentanyl that killed him, and no one has been charged in relation to the investigation, which also involves the Drug Enforcement Administration.

Associates of Prince have said that the artist was in constant pain near the end of his life from years of performing, which may have been the initial reason for opioid use. They've also said there was an attempt to get Prince into rehab before he died.

Prince was 57 when he was found alone and unresponsive in an elevator at his Paisley Park home on April 21.

SEE ALSO: Inside Prince's massive $10 million mansion where he was found dead

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After six seasons, HBO's series about Hannah (Lena Dunham) and her friends, "Girls," came to an end on Sunday.

Though the show decided to say goodbye to most of the characters by its penultimate episode, the finale found that Hannah still had some battles involving her one remaining friend, Marnie (Allison Williams); her mother, Loreen (Becky Ann Baker); and her new baby, Grover.

The decision to use motherhood as the catalyst for Hannah's break from her selfish ways and into adulthood wasn't free from criticism. But the show is pretty used to that, and many credit the creators for not letting the public uproar affect their vision.

"We never did that on purpose," Jenni Konner, one of the showrunners and writers behind "Girls," told Business Insider over the phone on Monday. "We just kept making the show we wanted to make. [Executive producer Judd Apatow] is very, very good at helping to shut things out. So we just tried to not let that affect us and the stuff we did. We just tried to move in a more positive direction."

Jenni Konner, who also directed the finale, talked to Business Insider about the controversy over the episode, some of the criticism thrown at "Girls" during its run, and whether there's potential for a spin-off or movie.

Jethro Nededog: What’s your response to those who believe the motherhood storyline was too traditional a route for the show?

Jenni Konner: I don’t have any response. Again, I’m just so happy that people are still talking about us. I love the debate. I’ll miss it so much.

Nededog: What were the considerations in casting the baby?

Konner: It’s two babies, it’s twins. They’re our Olsen twins. They are the cutest babies ever. The mother was lovely. I didn’t know this when we wrote it, but the amount of time you have with infants when you’re shooting them is something like 20 minutes a day. And let me tell you, these two were not professional. They would cry all through the shoot. They would want to eat while we were shooting. So what are you going to do? They were so adorable and the look in their eyes. The idea that Hannah could look at them and think, ‘That baby hates me,’ was so funny to us and sad. That baby doesn’t hate anybody, you know?

Nededog: Was there some negotiation around breastfeeding them on-camera?

Konner: Babies don’t have any interest in nursing off prosthetic nipples, so that was never a problem, getting the baby to reject Hannah. And the mom seemed fine with it. She was standing two feet away the entire time. And they were very sweet babies. I held them a ton, too, because I hadn’t had babies for a while.

Nededog: There’s a series of men trying to help Hannah in the finale and she writes them off. But that last policeman wouldn’t take no for an answer. Is that a "Girls" statement on men?

Konner: I think that it helped the character to feel more alienated. You know, her normal doctor was a woman and she was on vacation. And the cop was a man. I think it made her feel even more removed from her own sensibilities when those are the people talking at her. It puts her in a more lonely place.

Nededog: Were other endings considered? And If so, why did this one win out?

Konner: I don’t think we ever had any other actual concrete ideas. We threw around ideas, but I can’t even remember them. This is the one Lena wanted to do from the beginning. So she just fought her heart out and we did it.

Nededog: What was the most challenging scene you directed in the finale?

Konner: The scenes with the babies were pretty challenging. I loved shooting the fight between Becky Ann Baker and Lena. I set up four cameras and just ran it through like it was a play four, five times. And to make sure we had momentum, we rehearsed it a lot. I’m really proud of that scene, because I think it feels incredibly real and heated in a way we couldn’t have gotten if we chopped it up.

Nededog: The show ends with a pretty bleak take on friendships.

Konner: You may call it bleak, I call it truthful.

Nededog: Do you believe the finale may have balanced out that last episode when it came to the last word on friendships?

Konner: Absolutely. I think the two core people, Marnie and her mother, will remain in her life in some form.

Nededog: Looking back on the season, is there anything you would’ve done differently?

Konner: There’s nothing more I would’ve done. I think we did the final season exactly the way we wanted to do it. I feel so fortunate that people seem to be really responding to it positively in a way that’s moderately new for us. We started thinking about it in season four. When we decided we were going to end with season six, with the help of [former HBO programming president] Mike Lombardi and [HBO Chairman and CEO] Richard Plepler being so generous with us and letting us finish it when we wanted to finish it. Judd was like, "Okay, now we pick our end," and we went straight there. I think that’s also why last season was pretty well-received. We had a straight arrow, this direction we were going in. And it helps with storytelling to know the end.

Nededog: Was there a character or actor who was the hardest to say, that’s a wrap?

Konner: The last day with the girls was very, very heartbreaking obviously. But every time someone left, it was very heartbreaking — when Gaby Hoffman left, when Jon Glaser left. These are all people we spent six years with. And we’re a really sensitive, close family, so it was hard on the crew, hard on everybody. But we all knew it was coming.

Nededog: There was some discussion online of how improbable it was that Hannah would get that college teaching job upstate. How do you feel about the fact-checking of "Girls"?

Konner: I don’t know what to say about that. We’re a television show. If you don’t believe it, then buy it as Hannah’s happy ending. I’ve seen weirder things happen at colleges and weirder people get jobs. I have to tell you at this point to have them still caring, I feel really, really lucky.

Nededog: Lena has said that she based a lot of Hannah on herself. At what point did Hannah split from being Lena?

Konner: It’s always going to be personal stories to Lena, to all in the writers’ room. But certainly when Lena became famous and got into a serious relationship with [musician Jack Antonoff], there were less stories from her life. She didn’t have anymore date stories. She didn’t have anymore terrible sex stories. We had to get them from other places. But she always put a personal spin on it.

Nededog: Since the beginning of "Girls," you've been called the millennial "Sex and the City." Had that always been in the back of your mind and informing your choices for the show?

Konner: What I always said when people make those comparisons is that the women in “Sex and the City,” they met each other as adults. They didn’t just randomly get assigned someone’s dorm. They met each other as adults with careers and lives behind them. And they chose their chip in a way that our characters didn’t. It’s much more random the way that our characters became friends. It was at such a different time in their lives that their ending made perfect sense for them and our ending makes a lot of sense for us. It’s a very different type of show.

Nededog: There's certainly some potential for a "Girls" spin-off or movie. Where do you land on that possibility?

Konner: I know! I would do any of them. The thing is I don’t think spin-offs are in HBO’s DNA, really. I mean they haven’t really done it before. I’m down for it. I’m into a movie, too, but no one’s asked. We’re down for it all.

This interview was edited for length and clarity.

SEE ALSO: Why the final season of 'Girls' is a heartbreaking must-watch

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Netflix has said — on many, many, many occasions — that it doesn't want to get into live sports. But still, its executives get asked about it all the time.

And it makes sense!

Netflix has disrupted the TV industry to such a large extent that it's only natural investors might be curious if it would set its sights on sports. This is especially relevant given that rival Amazon has jumped into the sports game by winning the rights to stream 10 of the NFL's games, paying a whopping $50 million to do so, according to The Wall Street Journal.

But Netflix isn't interested. "Investors ask us about Amazon’s move into NFL football," Netflix wrote in a letter to shareholders on Monday. "That is not a strategy that we think is smart for us since we believe we can earn more viewing and satisfaction from spending that money on movies and TV shows." (bolded for emphasis)

In the letter, Netflix also leaned away from "live TV" by declaring that it didn't see new streaming TV packages as a threat. "We don’t think it will have much of an impact on us as Netflix is largely complementary to pay TV packages," Netflix wrote. "Our focus also is on on-demand, commercial free viewing rather than live, ad-supported programming."

Netflix missed on both domestic and international subscriber growth in Q1, but turned in an above-expected forecast for Q2.

SEE ALSO: Netflix stock dips after it misses both domestic and international subscriber growth

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Netflix has made three Adam Sandler movies so far, and Netflix users love him, to the tune of 5+ hours per subscriber.

Sandler was the first big movie star to lead the Netflix charge by signing a four-movie deal with the streaming giant, which has now been extended to eight movies. The films have largely been trashed by critics — see the 0% Rotten Tomatoes score for "The Ridiculous 6" and 5% for "The Do-Over" — but have been watched a lot by subscribers.

How much?

In an earnings letter Monday, Netflix said that since the launch of "The Ridiculous 6" in December 2015, subscribers have "spent more than half a billion hours enjoying the films of Adam Sandler." Over 500 million hours! Netflix said it will cross the 100 million subscriber mark this weekend, so a conservative estimate puts how much Sandler people are watching at 5+ hours per subscriber.

Admittedly, this is a rough guide. Certain subscribers come and go, so Netflix's total amount of subscribers, since the end of 2015, is likely greater than 100 million. But still, it speaks to the incredible amount of time Netflix users have spent.

"We continue to be excited by our Sandler relationship and our members continue to be thrilled with his films," Netflix wrote in the letter. Given these stats, it's easy to see why. 

SEE ALSO: Netflix on Amazon's NFL deal: 'Not a strategy that we think is smart for us'

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