On Wednesday, Alamo Drafthouse Austin announced it would hold a women-only "Wonder Woman" screening when the movie debuts in June. 

"Apologies, gentlemen, but we’re embracing our girl power and saying 'No Guys Allowed' for one special night at the Alamo Ritz," the movie theatre wrote. "And when we say 'Women (and People Who Identify As Women) Only,' we mean it. Everyone working at this screening — venue staff, projectionist, and culinary team — will be female."

Some people did not respond well to the announcement and perceived exclusion. 

"Alamo Drafthouse, will there be a male only screening for Thor: Ragnarok or a special screening for IT that's only for those who identify as clowns?" one Facebook commenter wrote. 

"We might actually have to steal that clown idea," the Alamo Drafthouse account responded. "Thanks Ryan!"

In fact, it seems that whoever is running the Austin Alamo Drafthouse Facebook account has a snappy response for critics across the board. Here's a sampling of how the theater is responding:  

Alamo also provided some more earnest responses, noting that it often provides special viewings for groups such as veterans and active military members, and that its many other "Wonder Woman" screenings are open to all. 

There was clearly demand for the tickets to the women-only showing. The first screening sold out, leading Alamo to add a second women-only "Wonder Woman" screening. 

As of Thursday, the second women-only screening had also sold out. 

SEE ALSO: A fidget spinner was confiscated in the kitchen of one of New York's top restaurants

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NOW WATCH: 7 colors that might get you sued

T.J. Miller, who plays startup incubator Erlich Bachman on the HBO comedy "Silicon Valley," is leaving the show after the current fourth season.

"The producers of 'Silicon Valley' and T.J. Miller have mutually agreed that T.J. will not return for season five," HBO told The Hollywood Reporter in a statement Thursday. "In Erlich Bachman, T.J. has brought to life an unforgettable character, and while his presence on the show will be missed, we appreciate his contribution and look forward to future collaborations."

Miller has played Erlich Bachman since the show's first season and earned a Critics' Choice Award for the role in 2015.

Currently, the actor stars on Comedy Central's parody talk show "The Gorburger Show." He also has an HBO special, "Meticulously Ridiculous," airing June 17.

Miller, who has starred in the movies "Cloverfield" and "Deadpool," also has a full slate of movies coming out in the next year, including "The Emoji Movie," "How to Train Your Dragon 3," and potentially "Deadpool 2."

Earlier Thursday, HBO announced "Silicon Valley" had been renewed for a fifth season.

SEE ALSO: HBO renews 'Silicon Valley' and 'Veep' for new seasons

DON'T MISS: 'Silicon Valley' star T.J. Miller says it's 'funny' that people claim to have inspired his 'buffoon' of a character

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NOW WATCH: This is the worst part of Silicon Valley, according to the cast of ‘Silicon Valley’

Few things have the power to transport people like the cinema.

Who can forget Robert Williams' "Good morning, Vietnam" or Marine Corps DI Hartman's memorable quotes?

The following list is of our favorite military movies.

Jeremy Bender contributed to an earlier version of this post.

SEE ALSO: The US lost track of $1 billion in weapons, and they might end up in ISIS' hands

"The Longest Day" (1962)

"The Longest Day" tells the story of heroism and loss that marked the Allies' successful completion of the Normandy Landings on D-Day during World War II.

The film stands out due to its attention to detail, as it employed many Axis and Allied D-Day participants as advisers for how to depict the D-Day landings in the movie.

"Lawrence Of Arabia" (1962)

Based on the exploits of British Army Lieutenant T. E. Lawrence during World War I, "Lawrence of Arabia" tells the story of Lawrence's incredible activities in the Middle East.

The film captures Lawrence's daring, his struggles with the horrific violence of World War I, and the incredible British role in the foundation of the modern Middle East and Saudi Arabia.

"The Great Escape" (1963)

"The Great Escape" is based on a novel of the same name, which was a nonfiction account of a mass escape from a German prison camp in Poland during World War II. The film follows several British German prisoners of war as they try to escape from the Nazis and make their way back to Allied-controlled territory. 

The trailer for the hotly-anticipated "Far Cry 5" has finally dropped, and for the first time, it's taking the fight to the United States of America. 

The gritty and violent franchise doesn't look like it's taking its foot off the gas as it approaches its fifth installment. The game is set in the fictional town of Hope County, Montana, where a radical cult, led by the prophet Joseph Seed, has taken control of the region. 

According to Ubisoft, the game will task you with sparking "the fires of resistance to liberate a besieged community." 

"Far Cry 5" will be available for PS4, Xbox One, and PC on February 27, 2018. 

Check out the action-packed trailer below: 

SEE ALSO: The Netflix show that's promised to be 'the best f-----g video game adaptation ever made' just got its first trailer

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NOW WATCH: 15 things you didn't know your iPhone headphones could do

The night is dark and full of fewer episodes than you probably wanted: Entertainment Weekly reports that the official episode count for the eighth and final season of "Game of Thrones" will be six episodes.

That's one less episode than the shortened seventh season, which premieres its seven-episode run on July 16.

Every other season of "Game of Thrones" has comprised ten episodes, with many episodes extended well beyond an hour. The wait for the newest season has also been longer than for ones past, leaving fans all the more hungry for their favorite fantasy drama.

Creators David Benioff and Dan Weiss and the show's writers are currently writing the last season. While this news may be dissapointing to many "Game of Thrones" fans, the good news is that unlike "The Winds of Winter," the final season is actually being written and it's not taking them over half a decade. And with the news of the tight episode count, it seems like Benioff and Weiss know exactly where to end things.

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

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NOW WATCH: HBO just released a new 'Game of Thrones' trailer — the dragons are back

The many stars of the hit movie "Love Actually" reunited for a sequel in honor of Red Nose Day on Thursday.

Packed into a sweet 15-minute video, the returning original cast members include Hugh Grant, Liam Neeson, Bill Nighy, Colin Firth, Keira Knightley, Andrew Lincoln, Chiwetel Ejiofor, Laura Linney, among many others.

Fans will remember that the holiday-themed romantic comedy followed 10 different, but somehow linked, couples as their love stories played out. The new video is a real fun way to find out what happened to all the couples in the 13 years that have passed since the movie.

Some of the best scenes from the sequel include Grant dancing to Drake's "Hotline Bling" and Lincoln reenacting the great handwritten-cards scene with Knightley.

The original film's writer and director Richard Curtis created the sequel to help bring attention to Red Nose Day, an international event for which supporters wear red noses to bring awareness and raise money for charities aiding children living in poverty.

Given the movie's intense popularity, this perfect "Love Actually" sequel should go a long way in bringing attention to Red Nose Day. Watch it here.

SEE ALSO: The trailer for Jason Bateman's gripping new Netflix show is here

DON'T MISS: Everything you need to know about the 'Twin Peaks' revival

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NOW WATCH: This 90-year-old producer found the magic formula for making money in Hollywood

On Tuesday, AT&T CEO Randall Stephenson raised eyebrows when he said that 20-minute episodes of “Game of Thrones” might work better on mobile than the standard hour-long ones.

That’s not idle chatter coming from Stephenson, who will control HBO parent company Time Warner if its proposed $85 billion merger with AT&T passes regulatory approval.

With AT&T’s core wireless business getting tougher and tougher, the telecom giant has looked to reinvent itself as the model of a next-generation media conglomerate, starting with the $49 billion deal to buy DirecTV in 2015.

Stephenson’s comments show how AT&T is trying to imagine a future where your smartphone is the center of the entertainment universe, and taking active steps to get there. That future, however, is not a sure thing, and AT&T has seen the growth of one of its marquee efforts stall in early 2017.

The bundle

The long-term prospects of the traditional cable bundle are looking rocky, with subscriber losses piling up last quarter, and younger viewers turning to digital options like Netflix and YouTube in droves.

That reality has made many in the pay-TV industry take a step back and consider the landscape, especially when it comes to what the ideal “bundle” will look like moving forward.

Since the DirecTV acquisition, AT&T has been at the forefront of this, and discerning the future of the entertainment bundle has become one of the central preoccupations of the company.

AT&T is “no longer a telecom and wireless company,” Brad Bentley, EVP of AT&T’s entertainment group, told Business Insider in a recent interview. “It’s a media company, and should look and feel that way.” AT&T wants to “elevate beyond selling gigs of data,” Bentley continued.

But if AT&T wants to be a center of the “new bundle,” one that will appeal to new customers that have grown up in the digital world, what form will that take?

Bentley has an answer: AT&T’s goal is to be the company that removes all barriers to you watching whatever video you want, wherever you want. To do this, AT&T wants to craft a “bundle” that includes wireless data, as well as access to TV shows and online video, all served up in a seamless interface. That will be even more important if AT&T reaches a real 5G future, in which watching TV all the time on AT&T data might be a viable option.

Taking a cue from tech companies instead of cable providers, Bentley also wants you to be able to sign up and cancel easily. “I don't like contracts,” he said.

Growing pains and structural advantages

It's clear that AT&T has big goals, but it has had big growing pains so far as well.

In late November, AT&T launched its DirecTV Now service, an online TV service that starts at $35 per month and is meant to lure younger people into the pay-TV ecosystem.

DirecTV Now was hit by a bunch of technical performance issues shortly after launch, some of which have persisted, which can be frustrating for customers that are used to regular TV. But beyond the unfavorable comparison to traditional TV, these glitches undercut AT&T’s goal of being the company that removes your problems, instead of adding to them.

That could have had an effect on subscriber growth. According to a new report by Bloomberg citing people familiar with the matter, by the end of January, DirecTV Now had 328,000 subscribers. That's amazing growth. But then the service actually lost 3,000 customers in February, and was about flat in March. It's worth noting that AT&T has, in recent months, faced increased competition from new entrants like YouTube TV and Hulu with Live TV.

Still, if AT&T can nail the technical performance aspect, Bentley argued that it has a few structural advantages over competitors in the streaming-TV space like Hulu and YouTube.

When you look at Hulu with Live TV, and YouTube TV, they have the two revenue streams (advertising and subscriptions), but they don’t have additional services they can bundle together, Bentley said.

The idea is that putting a wireless plan and TV package together can change AT&T’s relationship with the customer.

When testing products like DirecTV Now, AT&T looks at how they affect things like the churn (potential to cancel)characteristics of customers. “Are they more sticky,” David Christopher, the CMO of AT&T Mobility, said in a recent interview with Business Insider. “Does satisfaction go up? Is it another reason to choose AT&T?”

Like Amazon using video to sell shoes, TV can help AT&T with its core business.

AT&T also thinks it can leverage its data to serve better targeted ads — though this is something competitors like YouTube and Hulu pitch as well.

On Tuesday, Stephenson said AT&T, DirecTV, and Time Warner combined would serve about 1 trillion ad impressions per year. And he said that with data on customer behavior, it would monetize it 2-3 times more effectively than a traditional media company.

A final aspect that is very important to the AT&T bundle is its practice of “zero-rating,” or not counting your TV watching toward your data cap. An example: If you have DirecTV Now, you can stream all the TV you want over a wireless connection without going over your cap.

This practice is controversial, since many free internet advocates see it as a violation of “net neutrality,” or the principle that all data should be treated equally on the internet. But it’s likely to continue, especially under the loose regulation of Trump’s FCC, and is a central way that AT&T can use its status as a wireless provider to wring value out of the new bundle.

Moving beyond the channel

The combination of traditional TV and wireless, however, isn’t the precise endgame for AT&T. The other piece is the blurring of the line between online video that might live in places like YouTube, and video coming from TV networks.

In our interview, Bentley emphasized AT&T’s DirecTV Now partnership with digital media heavyweight Fullscreen (which AT&T owns in a joint venture). Fullscreen started on YouTube, and its shows exist somewhere between YouTube and traditional TV in terms of production costs. Last year, Fullscreen launched its own Netflix-like subscription service, which costs $5.99 per month and is focused on 18 to 25 year olds. AT&T wants Fullscreen and its other digital bets to live in the bundle with TV.

Bentley also mentioned the work AT&T has been doing with celebrities like Taylor Swift and Reese Witherspoon, who are creating content for DirecTV Now. Again, this is not typical TV fare, but is bundled into DirecTV Now.

“It is evolving beyond a set of channels,” Bentley said, with particular reference to Witherspoon and her new company Hello Sunshine, which is “built around optimism.”

Broadly, the new TV world will continue to push toward on-demand and time-shifted viewing, Bentley said. The process that started with Netflix and Hulu isn't going to reverse.

Many of the lines that have defined TV will also evaporate: between premium TV and digital, and between what you watch on your phone, and on your wall.

Someone will profit from the repackaging a bundle to sell you, one that takes into account the way digital natives like to be entertained. AT&T is making huge bets that it can be one of the companies at the center of that new universe. But what remains to be seen is whether it can emerge as a victor from a field that is becoming crowded with a converging mixture of tech, wireless, cable, and entertainment giants.

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NOW WATCH: I wear these computer glasses every day even though I have perfect vision — here's why

In April, Oscar Isaac told Business Insider that one of the highlights of shooting "Star Wars: The Last Jedi" was doing an "intense" scene with Carrie Fisher. 

“It was basically my first day [on set] and we did about 25 takes total. Half of them were on me and half of them were on her,” Isaac, who plays the pilot Poe Dameron in the new "Star Wars" trilogy films, said. “I can’t give anything away but there was a scene where there was some physicality there and it was shot just over and over and over. She relished the physicality of it, let me just say."

On Thursday, the actor went on "The Late Show with Stephen Colbert" and teased out some more details about that scene with Fisher. Turns out it involved Fisher slapping Isaac over and over, and over, and over.

“Actually, a large amount of the stuff I got to do was with Carrie, which was amazing,” Isaac told Colbert. “I remember the first day of shooting was a scene with Carrie. Oftentimes that first day, the filmmakers, everybody’s trying to get the tone and figure it out and I remember it was a scene where I come up and talk to her and she’s very upset with me and slaps me, and [director] Rian [Johnson] kept doing it over and over. It ended up being like 27 takes of Carrie just leaning in and every time she’d hit like a different spot on my face.”

Whether it was 25 or 27 takes, that's a lot of times to get smacked across the face. But this confirms what Isaac told us: that we are going to get a fiery General Leia in the upcoming "Star Wars" movie.

Looking back on working with Fisher on “The Force Awakens” and “The Last Jedi,” Isaac told us he feels “fortunate" that he "got to be in her gravitational field," and made it sound like a warm experience.

“At every moment she would just wander over with her Coke — she was constantly drinking Coca-Cola — and find a way to undercut the situation or to cut through something to make me laugh,” Isaac said.

He continued the high praise for Fisher on Colbert's show.

“She was by far the quickest-witted, funniest, most down-to-earth, real human being as I ever had the opportunity of working with and she does amazing work in this,” he said.

Fisher died in late December of last year after a heart attack. She had completed filming on "The Last Jedi."

"The Last Jedi" opens in theaters December 15 and will be the final time Fisher appears in a "Star Wars" movie. It's been announced she will not be appearing in “Star Wars: Episode IX” and Disney CEO Bob Iger has made clear there are no plans to bring Fisher's Leia to the screen via CGI in future "Star Wars" films.

Watch Isaac talk about Fisher on "The Late Show" below:

SEE ALSO: Oscar winner Brie Larson talks about the roles she instantly rejects

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NOW WATCH: Watch the first trailer for ‘Star Wars: The Last Jedi’

With 1990s nostalgia at its peak, and with the new "Baywatch" movie starring possible future president Dwayne "The Rock" Johnson and Zac Efron, it's time to take another hard look at the hit show that made red swimsuits and running on the beach in slow motion pop-culture staples.

Many well-known actors and even A-list stars (Michelle Williams!) got small (or in some cases, big) roles on "Baywatch" before they became known for something else entirely. You seriously won't believe who some of them are.

Here are all the famous people you didn't know were once on "Baywatch":

SEE ALSO: 35 movies coming out this summer that you need to see

Michelle Williams

The four-time Oscar nominee appeared in two episodes in different roles. Her first appearance was in 1993 in "Race Against Time: Part 1" as Bridget, a girl who throws a party. Her second appearance was in 1994, in an episode in which she is credited as "Hobie's groupie."

Catch a rare scene online of her as Bridget on "Baywatch." She thinks having sand in your shoes is "cool."

Williams has come so far.

Mariska Hargitay

The "Law & Order: SVU" star appeared in the third episode of season one in 1989. 

Sofia Vergara

Before she was "Modern Family" famous, Vergara was famous in the late '90s for being a Univision host. In 1999, she made a brief appearance as herself.

It's hard enough to keep up with real-world politics these days, and the same goes for Netflix's "House of Cards," which returns for season five on May 30. There are many new characters, a lot of intense fights between Frank and Claire Underwood, and a lot of Doug Stamper being really, really creepy. Oh, and a lot of Frank manipulating every single person who crosses his path (which is pretty standard).

While there's a long weekend coming up, that's still not much time to catch up on all four seasons of the show before the fifth season unless you don't get off your couch at all.

From murder to affairs, here's everything that's happened on "House of Cards" that you need to know about going into the new season:

SEE ALSO: RANKED: The 11 best movies of 2017 so far

Season one

In season one, we're introduced to Frank Underwood (Kevin Spacey). In his first scene of the series, he breaks the fourth wall by talking to the camera. Also he kills a dog.

Frank is a US congressman from South Carolina and the Democratic Majority Whip. But he hungers for even more power and will do anything (literally, like even murder) to get it.

Throughout season one, Frank sleeps with journalist Zoe Barnes and feeds her intel. She doesn't reveal her secret source to her colleagues.

Frank and Zoe’s strange affair resulted in a creepy sex scene in which Frank has Zoe call her father on Father’s Day as he performs oral sex on her.

There may be wedding bells in the air for LA's newest power couple. 

After hints that supermodel Miranda Kerr would get married to Snapchat CEO Evan Spiegel in May, the New York Post's Page Six reports that two will wed in a small ceremony of around 30 people at their LA home over Memorial Day weekend.

The Australian supermodel started dating the 26-year-old CEO nearly two years ago and a whirlwind romance followed, which lead to their engagement last year.

Here's how the two powerful stars fell so quickly for each other:

SEE ALSO: 10 important things Evan Spiegel said on Snap's first ever earnings call

The power couple first met at a dinner for Louis Vuitton in Los Angeles and became friends. 'We were really good friends for a long time before we started dating,' Kerr told The Sydney Morning Herald.

Source

In 2007, Kerr was the first Australian to become a Victoria's Secret Angel and was among the world's highest-paid models. Now she's working on creative projects like jewelry lines and just launched a handbag collection in Asia.

The 33-year-old Kerr was once married to Orlando Bloom and had a son, Flynn. Spiegel had to wait at least six months to meet him, per Kerr and Bloom's rules, but 'things are going well,' Kerr said. 'We're just a modern family now.'

Source: The Edit

"Arrested Development" star Will Arnett tells Business Insider that when the beloved comedy returns to Netflix for its fifth season, the star-studded cast will spend "much more" time together on the screen.

The new season will be structured "much like the original broadcast series," he added.

Arnett was speaking to Business Insider about Timyo, a time-saving e-mail app in which he's an investor and advisor.

His comments were in response to a question about the biggest criticism of the fourth season of "Arrested Development," which aired on Netflix in 2013. Due to scheduling conflicts, the show's large ensemble cast rarely appeared together in most episodes. Instead, the season was an interconnected series of vignettes focusing on only a few characters at a time.

This time around, not only is the whole cast returning ("sadly, Jason Bateman has agreed to do it," jokes Arnett), but Arnett tells us that the show will be structured in a way that's similar to the original seasons. That means the cast will be appearing together and sharing more scenes, he hints, as opposed to season 4, which focused on one or two characters per episode.

While Arnett notes that he's worked with "Arrested Development" creator Mitch Hurwitz on projects like the Netflix series "Flaked" over the years, he's excited to spend more time with the rest of the show's cast once the new season starts filming this summer.

"It's an opportunity to see everyone else," says Arnett. "It will be very rewarding."

"Arrested Development" had previously aired on Fox, for three seasons, from 2003 to 2005. The fourth season of the comedy debuted on Netflix in 2013. While the show never attained huge commercial success, it was a critical darling that has retained a sizable and devoted fan base over the years.

The fifth season of "Arrested Development" will debut on Netflix in 2018.

SEE ALSO: 'Arrested Development' is officially returning to Netflix for season 5

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NOW WATCH: The first full 'Justice League' trailer is here and it looks incredible

May marks the 40th anniversary of "Star Wars: A New Hope," but it also has another, less joyful milestone: the 15th anniversary of "Attack of the Clones," which was (to our disappointment) released to a theater near you on May 16, 2002. 

But maybe it's not as bad as everyone says it is or as bad as I remember it. Maybe it's secretly the best prequel. I hadn't seen it in a long time, so who am I to judge? Turns out, I was right.

I took a stab at re-watching "Attack of the Clones" with the intention of giving it the benefit of the doubt, but it just made me feel like I was getting stabbed in the eyes (and the heart). "Attack of the Clones" is a soulless, disjointed parade of clichés that took everything anyone loved about the "Star Wars" franchise and hid it behind wooden dialogue, junky visual effects, galaxy politics no one cares about, and forgettable characters who don't matter. At least "Phantom Menace" had a cool villain in Darth Maul and sweet Sebulba. 

The movie is so unwatchable — save for Ewan McGregor's welcome presence, for which he should win some kind of peace prize — that it literally took me weeks to watch it. I could only bear it in 20-30 minute intervals. At a painful and unnecessary 2 hours and 22 minutes, "Attack of the Clones" makes watching the depressing ending of "Rogue One" on repeat sound appealing. 

Here's why "Attack of the Clones" is the worst movie in the "Star Wars" franchise: 

SEE ALSO: Here's the only right way to watch the 'Star Wars' movies

While the script is dumbed down, ridden with cheesy one-liners and sentences that are not authentic for any living creature the has a mouth, it's still hard to follow.

There is so much plot that it’s actually completely plotless. In having too many storylines and new characters, the point of the movie — to showcase Anakin's eventual turn to the dark side — gets completely lost.

One of those plot lines? Anakin and Padmé's love story, which is just as forced as it is uninteresting. It's also terribly portrayed by future Oscar winner Natalie Portman.

On May 18, I got to attend Bungie's big "Destiny 2" event with my older brother Michael. It was a precious memory I'll never forget.

This is Michael. He's three years older than me, but we're both very similar: We have similar senses of humor, we both have beards — his is black, mine is red — and our voices sound almost identical. We also share many of the same interests, particularly in movies, games, and pop culture. He's always been there for me over the years, in both good times and bad. He's my best friend, and I love him dearly.

But since we live on opposite ends of the country — me in New York, and him in Los Angeles — it hasn't always been easy for us to keep in touch. Thankfully, "Destiny" is a big reason we've stayed connected over the years. And at the "Destiny 2" reveal event, we got to spend a full day geeking out to our favorite video game together. It was just like the old days.

SEE ALSO: Bungie director Luke Smith on 'Destiny 2': Our goal is to 'unhide the fun'

Michael and I both grew up playing a lot of video games together, usually in the basement of our old house in Connecticut. As kids, games were an easy and fun way for us to connect, talk, and work together.

One of my fondest memories was playing the classic Zelda game "Ocarina of Time" with him: He'd be the one actually playing the game, while I'd serve as a form of navigator, keeping track of his goals and looking at physical game guides in case he got stuck. As a young kid, I didn't always feel brave enough to play some games myself, so I was happy to watch him play. (To this day, I still enjoy watching other people play video games, usually on YouTube.)

In our teenage years, Michael and I played lots of "Halo" together. We'd play cooperative missions, but we spent most of our time playing multiplayer matches against each other. We spent countless nights playing on the "Hang 'Em High" arena, with rocket launchers only.

Michael regularly got the drop on me: He was so much better at "Halo" than I was, since he was quick to memorize the layouts of the arenas. He'd usually sneak up on me, jump in the air and shout "Death from above!" right before nuking me with a rocket and cackling with delight. He won almost every match we played, but I still had fun.

Jordan Peele’s directorial debut “Get Out” became a surprise critical and box-office sensation earlier this year thanks to its chilling look at racism through the guise of a horror movie.

There are countless fascinating things about the movie, about a black man who joins his white girlfriend for a visit to her parents' house, but one standout comes toward the end. (Warning: Spoilers ahead.) Chris (Daniel Kaluuya) has been brought down to the basement and is about to have the brain of a white man put in his skull when we are given a glimpse of the real Rose (Allison Williams), his heretofore "girlfriend."

What’s quickly become known as “the Froot Loops scene” shows Rose wearing all white with her hair pulled back tight in a ponytail listening to “(I’ve Had) The Time of My Life” while eating Froot Loops in a bowl and sipping milk from a straw out of a glass. Sitting on her bed, with framed photos of her past conquests hanging on the wall, she’s doing a Bing search on her laptop for “Top NCAA Prospects.”

The brief scene is a sublime mix of comedy and horror that has stayed with people long after they’ve watched the movie.

It’s also launched some great memes, like Peele tweeting a picture of Donald Trump Jr. eating cereal with the hashtag #getoutchallenge.

Then there’s this creative meme that went viral featuring a photo of White House adviser Kellyanne Conway sitting awkwardly in the Oval Office while looking at her phone during a visit from leaders of historically black colleges with a picture alongside it of a search box and the entry “Top NCAA Prospects.” 

But it turns out the already infamous Froot Loops scene wasn’t even in the original script.

“It was added while we were already on set in Alabama shooting,” Williams told Business Insider.

And many of the genius details in the scene were thought up right at the moment of shooting it.

“The decision to use Froot Loops was one that went right down to the wire,” Williams said. “And I can’t remember who came up with the idea to split them up, but Jordan and I brainstormed about what would be interesting, and it was decided to make the milk separate from the Froot Loops. I know my contribution were the tiny sips and tiny little bits.”

Williams said that Peele wrote the scene to drive home just how disturbed and terrifying Rose really is.

“This is our chance to see what it's like to be Rose every day,” Williams said. "It drives home the point that she has stalled developmentally at the age that she started doing the job. She still dresses somewhat androgynous, she’s totally meticulous, total control freak. She has her teddy bear and Froot Loops and milk. And the idea of her going upstairs and immediately putting all her photos back in frames and putting them up on the wall is also really chilling.”

The scene was one of the last shot for the movie, and Williams said she was grateful for that, as it was unpleasant to play evil Rose.

“I really only did one or two takes for those scenes and if he could Jordan would just keep the camera rolling because it helped keep me focused. That was a really strange experience shooting that scene.”

However, Williams admits that she can't help but laugh every time she sees the scene, with its bizarre reveal and the cheesy '80s pop playing over it. The scene also reminds her how much fun Peele had shooting it.

“When Jordan was watching the monitor and I was the real Rose character, he would grin and rub his hands together, like, ‘Yes, this girl is so evil,’” Williams said. “That was all the validation I needed when I was trying to stay in that evil version of Rose.”

With the movie becoming a huge hit, Williams believes the Froot Loops scene has the “potential of being iconic,” and she gives all the credit to her writer and director.

“This is a guy who from the beginning knew what he wanted the movie to look like, sound like, feel like,” Williams said of Peele. “It’s just perfect.”

“Get Out” is now available on Blu-ray and DVD.

SEE ALSO: Here's everything leaving Netflix in June that you need to watch right now

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NOW WATCH: Netflix and Marvel just dropped the first 'The Defenders' trailer — and it looks amazing

Bob Iger has been the CEO of Disney for over a decade, and made $41 million for his trouble last year, but that doesn’t mean he made it to his dream job.

In fact, on a recent Vanity Fair podcast, Iger shared that in his early 20s, he made the decision to abandon the career he’d set his sights on.

In college, Iger did a fair amount of TV work, and immediately after he got a job at a small TV station in Ithaca, New York, as a weatherman. His ultimate goal was to become the next Walter Cronkite, he said. But Iger had a moment of realization, “quite an epiphany actually at that point,” that he didn’t have the confidence or the ability to pull it off.

“At the ripe old age of 23, I decided to redirect,” Iger said. He decided to go behind the camera instead, and work his way up that side of the TV business.

After Iger abandoned his Cronkite dream, he didn’t set any “particularly lofty goal,” nor has he really had one since. For Iger, his career progression was about proving himself in the job he was given. Once he did that, he would set his sights on the next one. Iger had ambition, he just didn’t know where that ambition would eventually take him, he said.

Now we know it took him to the top of one of the most beloved companies in the world. And who knows, someday it might even take him to the White House. Rumors have been swirling that Iger has at least thought about a run for the presidency, though he’s been mum on the matter, and deflected questions.

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The dust is settling and the dirty business of cancellations and renewals is mostly over, so it's time to take a look at the new batch of TV show offerings from the broadcast networks.

There are plenty of themes that are still very much recurring in this year's new shows — from revivals and reboots like NBC's "Will & Grace" and "Roseanne" to shows based on already established franchises, such as spin-offs of "Grey's Anatomy," "The Big Bang Theory," and "Star Trek," alongside a few new shows based on Marvel and DC comics.

Business Insider took a look at what we know about the new shows and made some snap judgments on the ones we're most looking forward to watching.

Here are the 18 most exciting new TV shows from the broadcast networks:

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"Black Lightning" (The CW)

The CW has had a good run with shows based on DC Comics properties. We also really enjoyed Cress Williams as the mayor on "Hart of Dixie." Aside from the black lead, the show shares some similarities to Netflix and Marvel's "Luke Cage" in its story of trying to leave behind the superhero life and then being pulled back in when the protagonist's community is in need of his help. What gives "Black Lightning" a point of difference is its family dynamic and the tease that his daughter may also have superpowers.

"The Crossing" (ABC)

ABC is touting "The Crossing" as the next "Lost." Those are big shoes to fill, but the show looks promising. It follows the sudden arrival of dozens of apparent shipwreck survivors to a small American town who are seeking refuge from a war in their country. The catch is that they're Americans and there's no war in the US.

"The Gifted" (Fox)

The latest addition to Marvel's TV offerings, "The Gifted" centers on parents, played by "True Blood" star Stephen Moyer and "Angel" alum Amy Acker, who realize that their children have strange powers. With an anti-mutant government, the family seeks haven with an underground group of mutants. We're always willing to give Marvel shows a chance, though they can be hit or miss. Bring on "The Gifted"!

Memorial Day weekend would seem like the best time for a big summer blockbuster to hit the theaters, but in recent years audiences have been focusing more on their tans and grillmaster skills over the holiday than going to a movie theater.

Past Memorial Day holiday weekend openings that were instant fails at the box office include: "Tomorrowland" ($33 million opening weekend), "Alice Through the Looking Glass" ($26.8 million), and "X-Men: Apocalypse" ($65.7 million). Now you can add two new releases from this year to that list.

Disney's "Pirates of the Caribbean: Dead Men Tell No Tales" will win the holiday weekend, but the studio won't be bragging about it. The fifth movie in the franchise headlined by Johnny Depp will take in an estimated $62 million ($77 million by the end of the four-day weekend), according to Exhibitor Relations. That's below its industry projections of $80 million to $85 million. 

It's also the lowest opening for a "Pirates" movie since the first one, 2003's "Pirates of the Caribbean: The Curse of the Black Pearl" ($46.6 million).

Made for around $200 million (counting marketing), it looks like the movie is doing better overseas, with it taking over $200 million worldwide.

Paramount's R-rated comedy movie version of the legendary "Baywatch" TV show did even worse domestically than "Pirates," even though it had star power like Dwayne "The Rock" Johnson and Zac Efron. Going into the weekend with a horrid 19% rating on Rotten Tomatoes, the movie only earned an estimated $18 million ($22 million by Monday) to come in third place.

That led to Disney/Marvel's "Guardians of the Galaxy Vol. 2" earning the second place spot over the weekend with $24.2 million by the end of Memorial Day, though the movie has been in theaters for four weeks.

The performance of "Pirates" and "Baywatch" domestically is the latest examples that studios are not bringing out their top material over Memorial Day weekend, or just staying clear of it. Business was down 15% from last year (big releases then were "X-Men: Apocalypse" and "Alice Through the Looking Glass").

But there's always a silver lining. "Wonder Woman" opens next weekend, and should have a huge opening weekend.

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Plenty of tech startups dream of building a new consumer brand that's used and recognized by hundreds of millions of people every day.

Few of them get as close as Giphy, the four-year-old GIF search engine that's raised $150 million in funding to date at a $600 million valuation.

Giphy's mission is to evangelize and proliferate the world of GIFs — those micro-videos and animations that replay continuously in an endless loop and have become a standard means for expressing humor, shock or affection in news feeds and message threads across the world.

What started as a simple web crawler for finding GIFs now serves more than two billion of the auto-looping clips every day to more than 150 million daily users. The company recently started experimenting with standalone apps like Giphy Cam, which lets people create their own silly GIFs in seconds.

Giphy isn't profitable yet. In fact, the company doesn't even have a reliable means of generating revenue at this point. But now that GIFs are an ingrained aspect of online behavior, the company is hard at work drafting a blueprint to turn its popular service into a money-making business. 

CEO and cofounder Alex Chung tells Business Insider that his 70-person team is kicking around "over a dozen different business models" that it may implement. Central to the effort is Giphy's move to evolve from being a search engine for GIFs into a hub for what Chung calls "micro-entertainment."

“We are a platform for everything short-form, from communication to entertainment," Chung said during a recent interview at Giphy's newly-opened headquarters in New York City's trendy Chelsea neighborhood. "The future model is going to be jumping between the two.”

More than just the Google for GIFs

Giphy started four years ago as a side project of Chung's while he was a hacker in residence at New York startup incubator Betaworks.

By scraping sites like Tumblr for GIFs, he quickly realized that there were few quality GIFs on the internet, and most of them were low resolution.

“It’s like if Google had indexed the internet and found out there were only a few webpages," he said. “Most of them were pretty much garbage. There was a bunch of not-safe-for-work stuff.”

So he started quickly building a team that could chop down all kinds of content, from TV shows to sports games, into GIFs. Now Giphy licenses content from a wide swath of content providers, including HBO, the NFL, and CBS. Last year, it opened a production studio in Los Angeles to make its own GIFs and GIFs for outside partners.

Giphy's natural habitat remains messaging, as GIFs ricochet across platforms like Apple's iMessage and Slack, the work chat app that has integrated Giphy functionality. Search the word "hungry" in Google and you'll see bland dictionary definitions and famine reports. But "hungry" is one of Giphy's top search terms.

“We kind of branded expression search," said Chung. "No one even thought about searching expression, it wasn’t a thing.”

Slice and dice

After Giphy.com started adding standalone pages for events like New York Fashion Week and shows like "South Park," Chung and his team noticed another behavior. People weren't just coming to Giphy to find a GIF and leave. They were coming to be entertained.

Now 50% of the visitors to Giphy's website are coming to just browse and watch GIFs, according to Chung. And people watch more than 4 million hours of GIFs through Giphy every day.

“These are people who are coming to us to just look at entrainment, TV, celebrities," he said. "They’re sitting and watching and spending hours just combing through the site.”

What happens if Google wakes up to GIFs and decides to do a better job of featuring the mini-clips within its search page? Chung said he's not worried. 

"We’re years ahead of everyone and we have the brand and partnerships. We’re the Google here," he said.

The company has also made strides in producing GIFs, saving money and time by developing what is effectively a GIF factory that churns out a steady stream of self-looping clips. Every episode of the popular Netflix series "Gilmore Girls", for example, is pumped into an array of PC rigs which dice and tag the content into thousands of GIFs. Each of these GIFs redirects to Netflix's website when a viewer taps.

Make GIFs first, make money later

One thing Giphy hasn't figured out yet is how to make money. But after raising $72 million in additional venture capital funding last fall, monetization is being talked about more seriously internally.

“It's definitely something that’s become more of a priority at the company," said investor Spencer Lazar, who led General Catalyst's participation in Giphy's Series B, C, and D rounds of funding.

“Anyone with a huge network of engaged users who are searching for things has an opportunity to build a business on top of that," said David Rosenberg, who leads Giphy's business development efforts. "Exactly how we slice it, that’s what we’re thinking about now."

There are the obvious ways Giphy could monetize: ads in search, sponsored GIFs, and licensing deals with content providers like Netflix that agree to have their shows sliced into millions of tiny GIFs. Giphy has already experimented with creating sponsored GIFs — last year it made a GIF ad for the NBC show "Superstore" that was displayed on a giant screen in the World Trade Center. 

“It’s not like we’re allergic to the notion of taking money," assured Rosenberg.

But Giphy is still very much in the try-everything-and-see-what-sticks phase of its growth. Last year it acquired the sticker messaging app Imoji, which it turned into an animated sticker app that lets you place GIFs on top of stickers. A software development kit that's in the works will allow developers of all sizes to quickly integrate Giphy's search engine into their apps.

When Facebook debuted its new camera interface and augmented reality platform at its annual developer conference last month, Giphy was one the first outside partners. Its app Giphy Says can create looping GIF thought bubbles with captions based on what you speak into your phone's camera.

None of Giphy's standalone apps have been commercial hits. Giphy Cam, for example, hasn't ranked in the App Store's charts since it debuted in October 2015, according to analytics firm App Annie.

But Giphy maintains that its many experiments are just that: experiments intended to inform the company's overall direction.

“We can test to see if these products are interesting enough to put into the main product," said Chung, referencing the search engine. "And if it’s good, we’ll bake it in.”

“You do not get to build the massive business that we’re going to build without being maniacal about user experience and product for years and years," said Rosenberg. “I think we have a meaningful chance of being the next American tech consumer company that your grandma hears about.”

For Lightspeed Ventures partner Jeremy Liew, Giphy will succeed because of how it's become almost synonymous with the word GIF. Liew said he invested in Giphy for the same reason he invested early in Snapchat: both are about making communication more visual and expressive.

“If you become part of popular culture, you always figure out a way to make money," he said.

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Japan has a sex problem. The country's birthrate is shrinking year after year, to the point where deaths are outpacing births.

Simply put, Japan's population is decreasing.

But let's be clear: Population change is a complicated subject affected by many factors.

Western media often correlates the decline in Japan's population size with recent studies of Japanese sexual habits and marriage. A 2016 study by the National Institute of Population and Social Security Research in Japan, for instance, found that "almost 70 percent of unmarried men and 60 percent of unmarried women are not in a relationship."

But just because people aren't in relationships doesn't mean they don't want companionship, of course. And that's where something like Gatebox comes in.

Yes, that is an artificially intelligent character who lives in a glass tube in your home. Her name is Azuma Hikari, and she's the star of Gatebox — a $2,500 Amazon Echo-esque device that acts as a home assistant and companion.

Here's what we know:

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A Japanese company named Vinclu created the Gatebox.

It's about the size of an 8-inch by 11-inch piece of paper, according to Vinclu. And there's a good reason for that: The device is intended to be "big enough for you to be able to put right beside you." You'll understand why you'd want a Gatebox so close soon enough.

The Gatebox is similar to Amazon's Echo — it's a voice-powered home assistant.

The Gatebox has a microphone and a camera because you operate it using your voice.

For now, it will respond only to Japanese; the company making Gatebox says it's exploring other language options. Considering that preorder units were available for both Japan and the US, we'd guess that an English-language option is in the works.

Gatebox does a lot of the same stuff that Echo does — it can automate your home in various ways, including turning on lights and waking you up in the morning.