When Rockstar Games isn't meticulously crafting a new entry in the "Grand Theft Auto" or "Red Dead Redemption" video game series, the studio rarely makes other games. There are the occasional exceptions, like "Bully" and "Table Tennis" (really!), but Rockstar tends to focus on its heaviest hitters: "Grand Theft Auto" and "Red Dead Redemption."

2011's "LA Noire" — a gritty detective story set in 1940s Los Angeles, which focused more on detective work than shooting bad guys — is another such exception. Rather than hijacking cars and shooting at anyone in your way, "LA Noire" was about working police cases. Much of the game was spent determining whether or not people were lying based on speech patterns and facial recognition, or engaging in verbal swordfighting with your colleagues. There's shooting, and chases, and you can drive around a gorgeously detailed 1940s Los Angeles, but the game is really about doing "CSI"-style detective work.

And this November, it's getting re-born on slightly more modern hardware: the Xbox One, PlayStation 4, and Nintendo Switch. (The game originally launched on Xbox 360, PlayStation 3, and PC.)

There's even a virtual reality version of the game in the works, dubbed, "LA Noire: The VR Case Files." It's got seven of the cases from the original game, all re-created in VR so you can experience them far more personally.

Since there's a horsepower gap between the Xbox One/PlayStation 4 and the Nintendo Switch, there are some minor differences between the game for the former and the latter. First and foremost, all console re-releases of "LA Noire" come with the entire original game plus all additional content that was sold separately.

The differences are specific — here's how Rockstar describes the Switch version:

"'LA Noire' for the Nintendo Switch features the complete original game and all additional downloadable content, with specific enhancements including a Joy-Con mode with gyroscopic, gesture-based controls, HD rumble and new wide and over-the-shoulder camera angles, plus contextual touch screen controls for portable detective work."

And here's how the version for the PlayStation 4 and Xbox One is described by Rockstar:

"'LA Noire' for PlayStation 4 and Xbox One delivers the complete original game and all additional downloadable content with a range of technical enhancements for greater visual fidelity and authenticity, including enhanced lighting and clouds, new cinematic camera angles, high resolution textures and more. Plays natively in 1080p for the PlayStation 4 and Xbox One consoles, and stunning 4K for PlayStation 4 Pro and Xbox One X, these versions capture the grit and grime of the City of Angels like never before."

The game is planned for launch across Switch, Xbox One, PlayStation 4, and HTC Vive on November 14. 

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Shaul Schwarz and Christina Clusiau never thought much about big game hunting. In fact, the two photojournalists-turned-filmmakers, who have been a couple for years, didn’t even know how each other felt about the controversial sport.

Then almost four years ago, Schwarz was on his computer when he came across a “trophy shot” — a photo taken of a hunter next to the animal he or she has just killed. Schwarz shouted his displeasure, which fell on deaf ears as Clusiau didn’t see any problem with it.

“Growing up in Northern Minnesota it’s what people do, hunting,” Clusiau, sitting alongside Schwarz, told Business Insider. “So to me I felt everybody does it. It’s normal.”

“I grew up in Israel where if you shot a deer you shot Bambi,” Schwarz said. 

That led to the making of “Trophy” (opening in select theaters on Friday), the duo’s powerful documentary that delves into the world of safari hunting. On the surface, the movie looks to be an anti-big game hunting movie that sheds light on man’s atrocities toward animals. And with the main financing coming from Impact Partners — a company most recognized for backing the 2009 Oscar-winning movie, “The Cove,” which looks at the slaughter of dolphins in Taijii, Japan — that wouldn’t be a bad guess. 

But Schwarz and Clusiau go beyond the low-hanging viral sensations that diminish the sport, from Donald Trump’s sons taking trophy shots while on a hunting safari in Zimbabwe, to the death of Cecil the lion at the hands of a Minnesota dentist. Instead, they explore a complex issue in which big game hunting has fueled not just breeding of endangered species but wildlife conservation as well.

That was the biggest shock Schwarz and Clusiau got when attending Safari Club International’s annual Hunters’ Convention in Las Vegas in 2014. Essentially the Comic-Con of hunting, the three-day event offers everything from buying the latest high-tech hunting weapons, to getting a new fur coat, to spending thousands of dollars to make a reservation to hunt a buffalo or rhino on an African safari.

“It angers you that there’s so much money, but then they started to throw this argument at us that money is what drives this, this is why there is wildlife conservation,” Schwarz said.

The movie explores this tricky topic with lush visuals and moving interviews from those on the front lines of the issue, who are passionate about their stance.

There’s Philip Glass, a Texas sheep breeder who is on a quest to hunt the “big five game” (African lion, elephant, cape buffalo, leopard, and rhino); John Hume, a South African who owns a rhino farm and cuts off their horns to protect them from poachers; Christo Gomes, a South African all-inclusive safari owner; and Chris Moore, a Zimbabwean anti-poacher.

With a crew only made up of Schwarz and Clusiau, the two traveled with their subjects around Africa and other parts of the world. How to tell their stories evolved through time. At first, the two wanted to tell it as a verite with no narration or interviews. However, gradually they brought in interviews to better explain why people believe big game hunting is a positive for wildlife in Africa.

“When we started working with Craig Packer, the ecologist, that helped us reinforce doing interviews because he’s the one that says how this model can bring a restored ecosystem,” Clusiau said. Including interviews also revealed a surprising emotional moment. In one interview with Gomes, he breaks down and cries after asked if he has ever had an emotional connection to the animals he breeds that are eventually killed by hunters on his safari.

Then there are the movie’s visuals, which aren’t just stunning but showcase the incredible access the filmmakers got. To pull that off was physically draining and at at times dangerous.

The two often lugged around a drone for miles to film aerial shoots. It paid off after Glass killed an elephant. Before men from a local town picked it apart for meat to bring back to their village, Schwarz and Clusiau filmed an aerial shot via drone of the dead elephant. It’s one of the most memorable shots in the movie.

But getting drone shots almost led to the filmmakers getting stranded in the bush. After filming shots with the drone one morning, they went back by boat to the camp where they were to meet their hunting party. But when they got to the site no one was there.

“I think the guy misunderstood that we were coming back,” Clusiau said.

Remembering being told that buffalo and crocodiles roam the river at this time of day, the filmmakers knew they couldn’t walk along the river to get back to the home base. They thought of taping a note to the drone and flying it back to the base to get help. But finally Schwarz got reception on his phone and after calling numerous numbers where no one picked up the phone, he emailed the general email box of one of the companies that assisted in connected them with the hunters. Four hours later, a boat came to pick them up.

But their closest call wasn’t realized until six months after shooting was completed.

Schwarz got a voice mail out of the blue from Moore who shared what he learned about the poacher they were trying to track down when Schwarz and Clusiau filmed one of his anti-poacher raids:

"So, I discovered from an informant yesterday that that night when you were on that raid the guy was at home, he was there, he jumped out of the window, remember there were no burglar bars. And he had the 375 high-caliber rifle and he didn't know which guy to shoot, you or me,” Moore said in the voice mail, which Schwarz played for Business Insider. “He was confused. But he got a beat on both of us a few times and then, anyway, he decided to not pull the trigger for whatever reason."

Besides the incredible access, what makes “Trophy” so memorable is its ability to tell both sides of a complex issue. Schwarz and Clusiau are well aware the movie is a tough sell for people. But what they have realized is once they get people in the theater, they'll recognize the other side of the argument.

“We had Philip Glass at a screening in LA, a very liberal audience, and two days later he got this long email from a person there saying they were still against trophy hunting but thanked him for the dialogue,” Schwarz said. “And from the hunter side we hear from people who say, ‘Maybe ‘God giveth’ isn't the best excuse.’ That makes me happy. We are happy when people will go out of their comfort zone.”

SEE ALSO: Why fans shouldn't be concerned about all the directors leaving "Star Wars" movies — yet

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The semi-annual chaos that is New York Fashion Week has begun, and designers and fashionistas are deep in preparation mode. 

Perhaps no one knows the ins and outs of Fashion Week better than Anna Wintour, longtime editor-in-chief of Vogue magazine and artistic director at Conde Nast. Donning her trademark black Chanel sunglasses and perfectly styled bob, Wintour has been a fashion-show fixture for decades. 

With an estimated annual salary of $2 million, Wintour leads the kind of lifestyle any fashionista would envy.  

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Wintour is originally from the UK and moved to New York in her 20s. After stints at Harper's & Queen, Harper's Bazaar, and Viva, Wintour took the helm at Vogue in 1988. At the time, the storied fashion magazine had lost some market share to rival Elle, and its focus had shifted slightly to include lifestyle coverage.

Under Wintour, Vogue reestablished itself as the dominant American fashion magazine.

Wintour has now attended more than 3,000 fashion shows on behalf of Vogue. She has an annual clothing budget that's rumored to be as much as $200,000.

Source: T Magazine

The much-anticipated "Destiny 2" is finally available, and the floodgates have opened.

Critics and fans alike seem to love the game thus far, but the game's most hardcore fans have one major gripe that's completely taken over the "Destiny" subreddit. It has to do with something called "shaders."

The concept of "shaders" in the original "Destiny" was simple: You either earned or bought these items ("shaders") that would specifically colorize your character. Maybe you wanted a yellow hue instead of a blue one (or whatever else). You used this item ("shaders") to do that.

In "Destiny 2," this concept still exists but the way it works has changed. Rather than using a shader to change your character's color, you use them on individual items. So instead of using a shader to change your look from yellow to blue, you can change only one particular item — a gun, or a helmet, or chest armor, or whatever else. And you can only use that shader one time.

That's an especially big change in a game like "Destiny 2" where you're constantly getting new stuff. Why use a shader to change the color of your gun when you're just going to swap out that gun for something better? 

Worse: The game's creator, Bungie Studios, is selling shaders for real money — in addition to the $60 cost of the game — through the in-game storefront, the "Eververse." And that move has led fans to believe that the entire system was changed from the first game as a means of increasing sales of shaders in the in-game store.

The game's biggest fans have taken to the "Destiny" subreddit to discuss the change, and that discussion has quickly overtaken all other discussion about "Destiny 2." 

The top-voted thread on the subject — titled, "Do not spend a SINGLE CENT on micro transactions until shaders become unlimited use" — makes it clear what the problem is: "Shaders being one time use is a deliberate decision to make an aspect of the game worse for the sake of profit." 

All of that said, an issue like this affects only the game's most serious players — the kind of person who's spending hundreds or thousands of hours playing "Destiny." The average person buying "Destiny 2," playing through the game's campaign once or twice and dipping a toe into competitive multiplayer, is unlikely to have a real issue here. If you want to change the color of your gun, or shoes, or whatever, you can do that. If you can't, it's no big deal.

For the game's most dedicated audience, though, it's a real problem that directly conflicts with the sense of ownership and in-game representation that's at the heart of the game.

The game's director, Luke Smith, took to Twitter to respond to fan complaints:

The game's publisher, Activision, didn't respond to request for comment.

SEE ALSO: After 5 hours with 'Destiny 2,' the most anticipated game of 2017, I'm eager to play more

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NOW WATCH: The blockbuster game franchise 'Destiny' just announced a sequel — here's the trailer

Shares of Disney are down almost 4% on Thursday after CEO Bob Iger gave a disappointing earnings forecast at a conference in New York. Iger also said that Marvel and Star Wars were coming exclusively to Disney's recently announced streaming service.

Speaking at the Bank of America Merrill Lynch Media Communications Conference in New York, Iger said that the recent merger and acquisition activity is likely to continue, and that this year’s earnings per share will be roughly in-line with 2016, Bloomberg reported.

For the 2016 fiscal year, Disney reported earnings of  $5.72 a share. FactSet currently estimates 2017 EPS to be $5.89.

Any balance sheet padding from the streaming service won’t come for a while; the service is set to launch in late 2019, with specifics on pricing to come in 2018, Iger said. He also noted that an ESPN app will be separate from other Disney streaming services, and that customers will be able to purchase viewing rights for individual ESPN events. 

“I have described a very rich, treasure trove of content for this app,” he said, according to CNBC. ”We're going to launch big, and we're going to launch hot."

Shares of Disney were trading down about 3.4% following the news.

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"The Current War" trailer, released Thursday, provides a glance into the heated battle between famed inventors Thomas Edison and George Westinghouse close to a hundred years ago.

Oscar-winner Benedict Cumberbatch plays Edison as he prepares to flood New York City with electricity, and Michael Shannon plays Westinghouse, working with Nikola Tesla (played by Nicholas Hoult) who possesses the gas powered alternating current technology.

Cumberbatch plays a cunning and devious Edison, working overtime to slander Westinghouse's reputation.

The trailer explores the tempestuous relationship between the two inventors, as they try to poke holes in their respective inventions, and showcases the chaotic fight to see which technology would power America — gas or electric.

"The Current War" hits theaters November 24, and you can watch the trailer for "The Current War" here:

SEE ALSO: Watch the first trailer for 'Mudbound,' Netflix's gritty Oscar contender about racial injustice

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NOW WATCH: Here's why people are afraid of clowns — and what you can do to get over it

Mark Wahlberg is currently the highest-paid actor in the world, according to Forbes.

Wahlberg took home $68 million this past year according to Forbes — his biggest yearly paycheck to date.

Wahlberg's big financial gain this year comes from an assortment of projects. The Boston native was in two movies this year, "Daddy's Home" and "Transformers: The Last Knight," which grossed a combined $5.3 billion worldwide.

Wahlberg also took home paychecks from "Wahlburgers," the reality show he produces with his family, and as a spokesperson for AT&T. But Wahlberg isn't the only actor to take home an enormous paycheck this year.

These are the 10 highest-paid actors of 2017:

SEE ALSO: Emma Stone jumps above Jennifer Lawrence — these are the top 10 highest-paid actresses in the world

10. Ashkay Kumar ($35.5 Million)

Kumar may be unfamiliar to American audiences, but he's been working in Bollywood for about 25 full years now. The star made four movies alone this year, while also raking in about seven figures selling a variety of product — everything from deodorant to batteries. 

9. Salman Khan ($37 Million)

After making 85 movies since his first major role in "Main Pyar Kia" in 1989, Khan has secured his spot as one of India's biggest Bollywood stars. Khan starred in "Tubelight," and "Sultan" this year, bringing in the big bucks at the box office. 

8. Shah Rukh Khan ($38 million)

Khan made his cool $38 million this year from his upfront fees for his staring roles in "Jab Harry met Sejal," "Raees," and "Tubelight" — and for hawking a ton of Indian brands that are most likely unknown to the average American consumer.

Disney CEO Bob Iger announced Thursday that the company's upcoming Disney-branded streaming service will feature Marvel and Star Wars movies, and its app is set for launch in late 2019. 

Iger told a Bank of America-Merrill Lynch media conference in Los Angeles that the service will also feature four to five original films and four to five original TV series, produced exclusively for the app, as well an extensive library of Disney film and TV content, according to The Hollywood Reporter. 

"It will have the entire output of the studio, animation, live action at Disney, including Pixar, Star Wars, and all the Marvel films," Iger said.

Iger told investors to "think of the Disney app as a traditional SVOD service," or streaming video on demand service, in the vein of Netflix. He did not specify a monthly fee for the service. 

The new service marks a significant strategy change for Disney.

Starting in 2017, Netflix became the exclusive subscription streaming home of all new Disney movies. Disney's decision to shift to its own app in 2019 will, however, bring an end to their Netflix deal, and remove a vast amount of Disney-produced content from the service. 

Iger said just last month that the company hadn't decided how to deal with Marvel and Star Wars films, but it's now clear that Disney is making moves to bolster the service's "treasure trove" of content, as Iger labeled it on Thursday.

SEE ALSO: Disney will dump its exclusive Netflix deal in 2019, and launch its own streaming service

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Longtime Vanity Fair editor Graydon Carter announced his retirement on Thursday after 25 years at the helm of the legendary magazine.

In an interview with The New York Times, Carter said he wanted to leave "while the magazine is on top" and had made suggestions to fill his spot, a vacuum at one of the most prestigious legacy publications during a tumultuous time for the magazine industry, which has attempted to keep up with the rapid shift to digital.

While Carter has a storied career in journalism, unmasking the key source in the Watergate scandal, bolstering the publication's elite status, and fostering a close relationship with the powerful industries the magazine covered, Carter's long-simmering feud with one famous New York celebrity businessman became newly relevant in recent years.

During his time at the since-shuttered Spy Magazine, Carter frequently skewered then-real-estate mogul Donald Trump, famously noting Trump's small hands, calling Trump a "short-fingered vulgarian," an observation that Trump has fixated on publicly for years, even at one point sending Carter a printout of his hands. 

Though they were once friendly enough that Carter attended one of Trump's weddings, the president has repeatedly slammed Carter in interviews and on social media, tweeting repeatedly about Carter, his restaurants, and his magazine. He made time during the presidential transition to fire off a tweet criticizing the publication following its review of one of Trump's restaurants.

For his part, Carter has appeared to relish Trump's hatred, hanging a wall full of framed Trump tweets outside his office in One World Trade Center.

"He's tweeted about me 42 times, all in the negative," Mr. Carter said. "So I blew up all the tweets and I framed them all. They're all on a wall — this is the only wall Trump's built — outside my office. There's a space left for one more tweet to complete the bottom line. So if he does, I'm just going to call our framer, and say we need one more."

SEE ALSO: 'Quit listening to those who have no idea what they are talking about': Florida sheriff dismisses critics after saying he'd arrest people at hurricane shelters

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Lots of people are creeped out at the site of clown, whether it's at the circus or creeping around in the woods at night. Movies like Stephen King's "It" and the new season of "American Horror Story" featuring some terrifying clowns that take prey on the fears of the viewer. We spoke with Dr. Dena Rabinowitz, a psychologist in New York who specializes in the treatment of anxiety disorders and phobias, to find out why we are so scared of something that's meant to make us laugh. Following is a transcript of the video.

Hi my name is Dr. Dena Rabinowitz, and I'm a clinical psychologist specializing in anxiety disorders.

I think most people find clowns delightful, but there's definitely a group of people who find them creepy. There two things about clowns that kind of inherently lead people to be frightened of them. The first is that we rely a lot on facial expressions to understand people and see their motivations. And with clowns you don't have facial expressions. It's all under makeup, and it's fixed. And so there's a kind of a question of, "what's going on under there?"

The second thing is people don't inherently trust people who are always happy and laughing. For a lot of people, the fear of clowns actually is part of a more general fear of masked creatures. In regular parlance it's called: coulrophobia.

We don't like things that are familiar but then a little bit off. And so clowns look like people, but there's an oddity to it. There's something that is a little bit strange and from the norm. If we see clowns in places like in a circus where they belong, that's often not as scary. But if we see a clown which is already slightly odd and different to us in a place where we don't typically think they should be like the woods, it's even scarier.

People aren't born with a clown phobia, but they can certainly be genetically predispositioned to have an anxiety disorder. But a specific fear of clowns either comes because you had a traumatic event in childhood around clowns, a family member or somebody close to you kind of has taught you that clowns are scary, or you had an anxiety attack when you were around clowns and paired them together.

If you already have a clown phobia, watching movies like "It" or "American Horror Story" is not going to help, because all it does is reinforce the fact that clowns are in fact dangerous and scary. What we want to do to help with a phobia is show you that they're just people with makeup underneath and that there's nothing inherently scary.

Well if you just don't like clowns, then you really don't need to do anything about it. but there's a small subset of people who really are terrified of clowns in that goes into the category of a phobia lots of people have phobias and just because you have a phobia doesn't mean you need treatment. When you need to seek treatment for a phobia is when it interferes with your daily life. If you go screaming from a theater because there might be a clown that shows up or you can't go into town because there's a circus, then you really need to seek treatment.

The best thing to do about a phobia is first of all recognize that the thing you're afraid of is not dangerous and then do something called "exposure." Which is putting yourself in proximity to the feared object until you get comfortable.

So one of the things I recommend of clowns is watch somebody put on the clown makeup, so you can see that they're just a human being and see the progression of them turning into a clown. It makes it a lot more approachable, and you can learn to overcome your fear.

I don't have a fear of clowns. I have a fear of snakes. So i understand this.

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Graydon Carter is leaving his role as editor-in-chief of Condé Nast's Vanity Fair magazine. He'll officially leave the job after planning the 2018 Hollywood issue of the magazine, which publishes in January. 

The move marks the end of an era for the media world, where Carter reigned as one of the industry's most influential and well-known editors during his 25-year tenure at the magazine. 

Vanity Fair's glossy mix of hard-hitting investigative journalism and lighter entertainment fare made it the envy of the publishing industry at a time when many of its print peers struggled to adapt to the rise of the internet. 

It's unclear who will replace Carter, though speculation about potential successors was already in full-swing immediately following the news. Carter told the New York Times on Thursday that he had an "idea" for who he'd like to succeed him, but did not elaborate.

Short fingers and deep throats

In a statement accompanying Vanity Fair's official announcement, Carter said he was eager to begin his "third act."

Indeed, the 68-year old Carter has come to represent different things to different generations over the span of his career. 

In the 1980's, as an editor at the now-defunct Spy magazine, Carter popularized the term "short-fingered vulgarian" as a way of discussing now-President Donald Trump, who at the time was a popular figure in the tabloids. 

He came back into the spotlight after the 2016 election as President Trump narrowed in on him as a target of critique. The national attention sent Vanity Fair's subscriptions into overdrive in a time when many magazines have struggled to stay in print. 

Under Carter's stewardship, Vanity Fair published several major exclusives, such as the unmasking of F.B.I. official Mark Felt as “Deep Throat,” and the first profile on Caitlyn Jenner after her gender reassignment surgery. 

In 2014, he was elected to the American Society of Magazine Editors’ Hall of Fame.

"Oh, bittersweet day: the Grexit is upon us,"  wrote Vanity Fair editor David Kamp, in a heartfelt departure announcement. "Among those of us who have worked with Graydon Carter for a long time, the thought has lingered uncomfortably in the back of our minds that he might someday snap shut his laptop, pull on his Anderson & Sheppard overcoat, and get on with the rest of his life, leaving Vanity Fair behind."

Upon leaving the magazine, Carter will spend six months in France with his family, according to Kamp. 

SEE ALSO: The fabulous life of Anna Wintour

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NOW WATCH: Holograms are taking over advertising

Virtual reality headsets have yet to live up to the initial hype. Facebook bought Oculus VR in 2014 for $2 billion, leading Mark Zuckerberg to proclaim, "we believe this kind of immersive, augmented reality will become a part of daily life for billions of people." This has not been the case. The devices are expensive, and consumers haven't found the experience interesting enough to warrant the multiple hundred dollar price tags.

Augmented reality is now receiving much of the same excitement that VR once did – Apple and Google both released AR development kits for mobile this year – but according to IDC, virtual reality accounts for 98% of shipments in the AR/VR market. As we can see in this chart from Statista, Samsung, Sony, and Facebook lead the market. Combined, the three accounted for 60% of global VR and AR headset shipments in the second quarter of 2017.

SEE ALSO: One chart shows Apple dominating the smartwatch market

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NOW WATCH: Watch what happens when kids try virtual reality for the first time

If your favorite female TV character is wearing baggy clothing, holding groceries, suddenly "getting fat," or standing behind random props, a coverup may be in play.

Mindy Kaling recently confirmed that she's pregnant. And while the sixth and final season of "The Mindy Project" premieres on Hulu September 12, she likely didn't have to hide a bump because shooting was probably complete before she started showing. But that got us thinking about the lengths TV shows have gone to conceal pregnancies, or write them into the show.

Actresses, props teams, and everyone behind the camera do a lot to hide pregnancies during filming. Gal Gadot's pregnancy had to be hidden while shooting an additional scene for "Wonder Woman." But this is more frequently an issue for TV actors, as shows have season deadlines that aren't always as forgiving as the ones for films. 

Not every pregnancy can be written into a character's storyline. So shows get creative in maneuvering around baby bumps. Often that just means the actresses are draped in comically oversized clothes, winter lasts forever because the coats are convenient, or actresses are hidden behind randomly placed objects. Or they're simply filmed from the chest up.

Take a look at which actresses were pregnant while filming and how their TV hid it:

SEE ALSO: These are the 10 highest-paid actors in the world

Kerry Washington: The attempts "Scandal" took to hide its star's pregnancy in season three were often laughed at by the media and fans. From the gigantic coats, ridiculously placed objects, and chest-up-only shots, "Scandal" used every trick. And it took a toll on Washington. She said filming was a "challenge" because her "instrument was changing and evolving every day."

Source: The Hollywood Reporter

From TV Guide, check out 20 of the "most ridiculous" ways the show tried to cover up Washington's pregnancy.

Lucille Ball: The comedy icon was pregnant during the second season of "I Love Lucy." Though CBS allowed Ball's pregnancy to be included in the story, the episode that revealed her condition famously was not allowed to actually use the word "pregnant" and found Lucy in some very oversized coats as she wasn't supposed to be as far along as Ball was in real life.

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 Source: The A.V. Club

Alyson Hannigan: She was pregnant twice in her "How I Met Your Mother" career — the first time it was hidden, while the second coincided with her character Lily's pregnancy. The first time around, the creators decided to take some humorous liberties. They hid her behind basketballs and globes, but then showed her full belly, pretending it was the aftereffect of a hot dog eating competition. Costar Cobie Smulders, however, didn't get to show off her baby bump in the show's fourth season. Instead, she was given loose clothing and big handbags.

Source: The Chicago Tribune

Following Oscar hype at its world premiere at the Sundance Film Festival earlier this year, “Call Me by Your Name” shows up at the Toronto International Film Festival with the hopes of increasing the buzz. And after its premiere screening here Thursday night, it did just that.

From director Luca Guadagnino (“I Am Love,” “A Bigger Splash”), with a script by James Ivory, this adaptation of the André Aciman novel is a touching portrait of a summer love affair between student Oliver (Armie Hammer) and the son of the professor that’s taken him in, Elio (Timothée Chalamet).

Guadagnino has dazzled audiences in the past with lush visuals of rural Italy that makes you want to jump on a plane and vacation there. “Call Me by Your Name” is no different, as the “somewhere in Northern Italy” setting is a character all its own in the movie with its hidden ponds, cute towns, and a rustic villa. But what’s different this time around is that with the movie’s setting of the late 1980s, Guadagnino gives us a more playful feel. Similar to “A Bigger Splash,” the movie features fun music and a lot of sexual tension, but in “Call Me By Your Name” there’s no sinister third act. The movie is about sexual discovery and the feeling of finding your first love.

The movie is fueled by Elio’s fondness for Oliver, which turns into a mutual love over the six weeks they are together. Hammer plays the Oliver character as a macho American, who shows up with a confidence that at first intimidates Elio. But by the end, Elio doesn’t want to just sleep with him, he wants to be just like him.

Hammer and Chalamet have incredible on-screen chemistry as they go back and forth from a playful big brother/little brother vibe to passionate lovers. Both should be in the awards season discussion (Guadagnino as well), but it’s Hammer who really shines. The Oliver role gives him the opportunity to really show off his dramatic chops and leading man charm.

The movie might be a little too long (running time is over two hours). By the end it gets to the point where there are about three different endings. But buried in there is a fantastic scene between Chalamet and character actor Michael Stuhlbarg, who plays his father, that is an emotional high of the movie.

“Call Me By Your Name” opens in theaters November 24.

SEE ALSO: 18 movies coming out soon that are major Oscar contenders

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The rise of social media has allowed celebrities of all stripes to interact with their fans on a (sometimes terrifyingly) personal level, through platforms like Twitter, Instagram, and Snapchat. But some celebs want more direct control over how they are presenting their lives to superfans than those platforms provide.

Take the Kardashian-Jenner sisters, who debuted a set of subscription apps in 2015 to give people more behind-the-scenes access to their daily lives — for a few bucks a month.

And now NFL superstar Russell Wilson, the quarterback of the Seattle Seahawks, is betting there’s a business to be built around creating custom ways for celebs to engage with their superfans.

Wilson has cofounded a startup called TraceMe, which is meant to “control the experience and cadence” of how celebs interact with their biggest supporters, TraceMe CEO and former Hulu exec Jason LeeKeenan told Business Insider. It launches in public beta Friday.

The idea

LeeKeenan pointed to the pregnancy of pop star Ciara, Wilson’s wife, as one of the lightbulb moments that led Wilson to found TraceMe. When Ciara was about eight months pregnant, the couple filmed a funny video of her lip syncing to Whitney Houston, which racked up millions of views on social platforms like YouTube and Instagram.

But Wilson wanted there to be a “better” and “more direct” way to share moments of his family’s life, like that one, with fans — and perhaps a more lucrative way, though LeeKeenan didn’t say that. Through that experience and other conversations with his famous friends, who had similar feelings, Wilson decided to seek out a cofounder for TraceMe.

The idea behind TraceMe is to give celebs both the tech and production know-how they need to create their own content empires. In that way, it sounds a bit like Derek Jeter’s startup The Players’ Tribune, which publishes (and helps create) content like essays and videos by athletes. The Players’ Tribune has raised a total of $58 million from venture capitalists, according to Crunchbase. But TraceMe is more personalized to the individual celeb, and not an overarching media brand itself.

While TraceMe will be the overall platform, it will let fans dive into different (custom) celeb worlds — think “Russell’s world,” LeeKeenan said. The first star on the platform, starting Friday, will be Wilson himself.

Wilson’s content will be a mix of “raw and unfiltered” video directly from him, as well as a handful of more polished original series that the TraceMe team will help him produce. The latter will be videos like Wilson talking to legends in different fields, or detailing his workout routines with his personal trainer.

The ultimate idea is to create immersive experiences, in whatever form the celeb wants, LeeKeenan said.

As to a monetization method, there isn’t one in place yet, and LeeKeenan is mum on his plans. But one can imagine a subscription element, like the Kardashians employ, with TraceMe taking a cut of the revenue depending on how much work its team does on the project. And for now, TraceMe has raised a $9 million Series A round of funding from the likes of Madrona Venture Group, Bezos Expeditions (Amazon CEO Jeff Bezos), and Chad Hurley (cofounder of YouTube).

LeeKeenan’s position is that if they are creating something of value for these celebs, the money will come.

“Russell has this saying, if you're a celebrity you need to be the CEO of your own brand,” LeeKeenan said. “Our job is to support [them] in their endeavor.”

SEE ALSO: 6 brutally negative reviews critics gave 'Game of Thrones' when it first came out

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Netflix's library of original content has grown exponentially since it started producing shows in 2013. Over the years, it has proven to be a hotbed of original comedy programming. 

With so much comedy content on the service, however, it can be hard to keep up with which shows are worth watching. 

To create a cheat sheet for you, we turned to review aggregator Rotten Tomatoes to rank all of Netflix's original comedy series by their composite critical ratings. The shows had to have at least one season designated "Fresh" or "Rotten," to ensure they had a high enough number of reviews. 

Here are Netflix's 25 original comedy shows, ranked by their Rotten Tomatoes critic score from lowest to highest (if there was a tie, we used the audience score to break it):

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25. "Disjointed" — 17%

Critic score: 17%

Audience score: 74%

Netflix description: "Pot activist Ruth Whitefeather Feldman runs a medical marijuana dispensary while encouraging her loyal patients to chill out and enjoy the high life."

24. "Friends From College" — 23%

Critic score: 23%

Audience score: 72%

Netflix description: "Twenty years after graduation, a tight-knit group of college friends reconnects and discovers that love hasn't gotten easier with age."

23. "Girlboss" — 32%

Critic score: 32%

Audience score: 70%

Netflix description: "Rebellious and broke, Sophia stumbles into creating an online business and learns how to be the boss. A comedy inspired by the best-selling memoir."

The upcoming CBS All Access show, "Star Trek: Discovery," tells the story of a war between the United Federation of Planets and the Klingon Empire. The show is set ten years before the 1966 original series, when the Federation and Klingons were in a Cold War that reflected the political climate at the time. 

"Star Trek: Discovery" will follow that tradition, by mirroring themes from the Trump Era.

“The allegory is that we really started working on the show in earnest around the time the election was happening,” showrunner Aaron Harberts told Entertainment Weekly. “The Klingons are going to help us really look at certain sides of ourselves and our country. Isolationism is a big theme. Racial purity is a big theme. The Klingons are not the enemy, but they do have a different view on things. It raises big questions: Should we let people in? Do we want to change? There’s also the question of just because you reach your hand out to someone, do they have to take it? Sometimes, they don’t want to take it. It’s been interesting to see how the times have become more of a mirror than we even thought they were going to be.”

“The thing about the war is it takes Starfleet and the Federation and forces them to examine their ideas and ethical rules of conflict and conduct,” Harberts added. 

 Co-showrunner Gretchen J. Berg. added, “In times of stress and conflict, it can bring out the best of us and the worst of us. But but ultimately brings out the best in our Starfleet officers.”

The show is shooting the last couple episodes right now, and Harberts says that “North Korea is in our thoughts as we finish the series."

Watch the trailer for "Star Trek: Discovery" below: 

SEE ALSO: RANKED: Netflix's 25 original comedy shows, from worst to best

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• Snapchat is asking student newspapers to create campus editions for its Discover section, which already includes large outlets like BuzzFeed and The New York Times.
• The stories will be visible to Snapchat users located near each respective campus.
• Like larger publishers, participating student newspapers will be able to monetize their efforts by sharing revenue from video ads with Snapchat.

Snapchat is tapping college newspapers to make campus stories for students, the company announced on Friday.

A handful of colleges across the US will begin publishing stories this weekend in the app's dedicated section for publishers. Schools participating in the initiative include Berkeley, Texas A&M, Syracuse, and The University of Wisconsin–Madison.

Business Insider first reported that Snapchat was partnering with college newspapers last month.

The initiative marks the first time that Snapchat has opened up its publisher section to less established media companies. The section currently features daily articles and videos tailored for Snapchat's vertical video format from the likes of The Daily Mail, BuzzFeed, Vice, and The New York Times.

The move also capitalizes on Snapchat's youthful user base. Parent company Snap Inc. has disclosed that its users younger than 25 years old spend an average of 40 minutes in the app per day, and that 36% of its 173 million users are between the ages of 18 and 24.

By partnering with college newspapers, Snapchat is furthering its goal of becoming a destination for consuming news. A recent ORC International study commissioned by Snap found that 47% of students see their college newspapers as the primary way of learning about news on campus.

Make students feel 'in on the joke'

For The University of Wisconsin–Madison's student paper, The Badger Herald, editor in chief Alice Vagun told Business Insider that she expects a "flood" of students to be interested in helping put together their weekly Snapchat edition. She said the paper has already appointed a dedicated Snapchat editor and brought on a couple of part-time animators to create graphics.

The Badger Herald's Snapchat stories will be a mix of repurposed stories from the newspaper along with exclusive content for Snapchat. The publication has been working with Snap for months to develop the right kind of content that encourages students to screenshot or share stories with their friends in the app, according to Vagun.

“Something they really stressed was to create content that made people feel like they were in on the joke or part of the campus community," she said of her meetings with Snap employees.

While college stories like The Badger Herald's will only be visible to Snapchat users within a few blocks of each respective campus, each student publication will be able to share a yellow QR "Snapcode" that people located outside of the campus can scan with Snapchat's camera to view the stories.

Snap will monetize its college editions by sharing ad revenue with the school or the student publication, a spokesperson said. The company paid $58 million to publisher partners last year and shares ad revenue with most of them as well.

SEE ALSO: Why Snapchat is doing a daily news show with NBC

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Last month, Facebook released Watch, its new section that features original, TV-like shows — and so far the programming has proven uninspired.

Watch's shows span a wide range of genres: from scripted sitcoms, to short how-to videos, to documentaries. The videos are also quite varied in length, and can last anywhere from three minutes to well over an hour. 

But are there any good ones? Not many.

Facebook Watch feels like programming that's been curated for viewers by the algorithm that puts together YouTube's suggested videos section. Almost every show (and I'm using the term "show" very loosely here) feels as if it were made by someone who was undecided about whether they wanted a TV show, or a viral video — and ended up accomplishing neither. 

Facebook's goals for Watch are ambitious, and there is still more to come, including live-streamed sports events. Facebook is also reportedly willing to pay millions to have the exclusive rights to longer premium shows, and could spend up to $1 billion on original shows, according to The Wall Street Journal. But so far we haven't really seen anything in that category.

If Facebook wants to build Watch into a robust platform pioneering new types of video, it needs to seed it with some good content to get users there in the first place. That hasn't been the case yet.

But it's not all bad. Some of Watch's spotlighted shows are standouts, like Refinery29's scripted show "Strangers," which follows a newly single Isobel as she rents out her spare room to strangers; "Humans of New York: The Series;" and Vox's "Overrated," which unearths facts about different things that have oversaturated pop culture.

These are the exception rather than the rule, however. Some of Watch's worst spotlighted shows include "We Need to Talk," featuring "Catfish's" Nev Schulman and his wife Laura Perlongo answering relationship questions, and "DUST short films," sci-fi shorts that play on tired sci-fi tropes (for example, technology is ruining everything). 

The scripted shows feel hastily made, with poor production value, bad writing, and incoherent plot lines. Non-scripted shows straddle the line between viral clips and reality TV. The biggest problem with almost all of the shows is that they feel like long advertisements, created with the intention of driving you to an assortment of Facebook pages with the help of your favorite D-List celebrities.

And good luck to you if you try to watch anything other than the spotlighted shows. The vast majority of Watch is a buffet of the internet's most saccharine animal videos and dull reaction videos. 

Note: Business Insider and INSIDER have shows on Facebook Watch.

SEE ALSO: Facebook is expanding access to Watch, its new video hub for original shows

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Nintendo's new Switch console sold out everywhere on launch and is breaking sales records worldwide.

According to Atul Goyal, an analyst at Jefferies, the system outsold Sony's PlayStation 4 by 130% over its first 26 weeks in Nintendo's home country of Japan.

In the first week it was available, the console sold more than 329,000 units, about 20,000 more units than the PS4 did after its launch which was a "much stronger" way to start, Goyal said. 

Demand for the Switch isn't slowing down at all. In fact, Switch sales in Japan have been growing ever since its launch, according to Goyal. Recently, Nintendo has been selling 10 to 14 times the number of Switch consoles that Sony is selling of PS4s.

All of this demand comes as supplies of the Switch remain low. Nintendo has already sold 4.6 million units globally, according to a previous note from Goyal, and it expects to sell about 10 million units this fiscal year. Sony expects to sell 18 million PS4s. 

Monetizing the platform is likely to come easier to Nintendo as well. Building out a large install base is important for future returns and Nintendo is doing well to establish a wide base, Goyal says. 

Nintendo shares are up 47.06% this year so far.

Click here to watch Nintendo's shares trade in real time...

SEE ALSO: Nintendo's Switch is sold out everywhere — and investors couldn't be happier

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