Despite her busy schedule with the All About Your Boom Campaign, Patti LaBelle stopped by Business Insider to teach us how to make her world-famous sweet potato pie.

Want one for yourself? Here's an easy, yet delicious recipe that you can try at home:

Ingredients: Sweet potatoes (2½ pounds), Unsalted butter (½ cup), Granulated sugar (1 cup), Evaporated milk (½ cup), Eggs (2 large), Ground nutmeg (1 tsp), Ground cinnamon (1 tsp), Salt (¼ tsp), Pie Crust

Step 1. Mix and stir all the ingredients with the mashed up sweet potatoes

Step 2. Fill the pie crust with the mixing

Step 3. Bake at 375°F for 15 minutes then bake at 350°F for 30 more minutes.

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When Israeli director Hany Abu-Assad was handed the script for “The Mountain Between Us” three years ago, he knew he wanted to shoot it at a real location.

In an era where practically anything can be created with the most realistic detail in a soundstage, Abu-Assad felt if he was going to put the audience in a harrowing situation like surviving an airplane crash, he would have to also put his cast and crew in that same kind of setting.

That meant shooting for a month on a mountain at an elevation of 11,000 feet.

Based on the 2011 book by Charles Martin, “The Mountain Between Us” (which opened Friday), was a script that had a few false starts before ending up with Abu-Assad. There was the time Michael Fassbender and Margot Robbie were attached, then Charlie Hunnam and Rosamund Pike. When Abu-Assad came around, Jessica Chastain was circling. But it’s easy to understand why stars might have been somewhat hesitant to go forward with the movie: It’s a love story set on a mountain after the two leads survive a plane crash.

In the story, Ben and Alex are strangers stranded at the Salt Lake City airport as a major storm grounds all flights. As both desperately need to get back to their homes for important events, Alex comes up with the idea of hiring a pilot with a small plane to fly them back home. Ben tags along. But over the snowy mountains of Utah, the pilot suffers a heart attack, leading to a dramatic crash landing. Ben, Alex, and the pilot’s dog all survive, but with little food they have to figure out quickly how to get rescued. Eventually, Ben and Alex’s journey to be rescued leads to a romance.

It's not the kind of movie that’s an easy sell for a date night.

But Abu-Assad felt with the harrowing journey Ben and Alex have to endure to survive, a powerful love story could also be told.

“The idea was great between a survival tale and it turning out to be a love story, and what's the difference between love and survival? Is there any difference between the two?" Abu-Assad said to Business Insider. "We fall in love, I think, because we want to survive. We want to bring kids to the world. So the theme is very interesting. There aren't many movies being done with the combination of survival and love.”

Soon after signing on, Abu-Assad got a new version of the script following a rewrite by Chris Weitz, which he said was the best version he’d seen yet. With a locked script, Abu-Assad got it to Idris Elba, who was interested but knew the movie needed a strong female costar. Then at the 2015 British Film Academy Awards, Elba and Kate Winslet connected and the two decided they were up for the challenge of making “The Mountain Between Us.”

But even Abu-Assad admits, at times during shooting he wished he had done it all on a soundstage.

Following a month of pre-production in late 2016, production shot for a month on the Purcell Mountains in British Columbia (which doubled for the Utah mountain Ben and Alex are stuck on in the movie). Each day started with a helicopter trip up the mountain from the base camp. And not just the cast and crew, but all the equipment had to be flown up each day. Also, the helicopter would only take everyone up if if was a clear day and not a cloud in sight. As Abu-Assad learned the hard way one morning.

“I always flew up first with my DP, first AD, line producer, and location manager,” Abu-Assad said. “We go up and then suddenly we were rounding the mountain and there was this huge cloud on the other side of it. So the pilot had to turn around very fast — because if you go into that cloud you can't see anything, you'd be flying blind — and we went back down the mountain very fast. It was a free fall. It was like a bungee jump. That was the worst day for me.”

Shooting days only lasted six hours because everyone had to get off the mountain by the time the sun went down. And the altitude was a constant battle. Abu-Assad said numerous people fainted, including Elba.

And the elements didn’t just take its toll on the cast and crew, but the equipment as well. With the cold at times getting to around 40 below, all the cameras had to run 24 hours a day because they learned if they turned them off, they would never start back up.

Abu-Assad tried to keep everyone in high spirits through the shoot, but there were bad days.

The movie, shot by cinematographer Mandy Walker ("Australia," "Hidden Figures"), has gorgeous wide shots of miles of untouched snow with huge mountain ranges for as far as the eye can see. To pull off the look of the characters being in the middle of nowhere, Abu-Assad said the production had to walk for a good mile, lugging all the equipment (which included cranes and dolly tracks), in deep snow. Often up hills. In one instance, the crew almost revolted.

“One day we had walked and set up the shot and were ready, but then I was like 'This is not the right angle, we have to move the camera another half mile,’ because I wanted to get the mountains in the background,” he said. “You should have seen my crew shouting at me. ‘You can't do this!’ I felt really guilty. The line producer was yelling at me, 'Hany, you can't do this!' and I said, ‘We started already, let's continue.’ We all had to work together to make it possible and they did it.”

So despite some days wishing he had a warm coffee in his hands inside a comfortable studio set, Abu-Assad looks back and believes the experience on the mountain was needed to make the movie.

“To be honest, this is what drives me to make movies,” Abu-Assad said. “I want to have a challenge. And an honest picture. Because if you do it in a studio with a green screen, you won't be making honest decisions about your shots, lens, lighting. But when you are on location, every decision is an honest decision because you are hungry, you are cold, you are all in the same situation. The actors didn't need to pretend. We couldn't get food up there. Everyone had energy bars to chew on.”

But Abu-Assad isn’t crazy. Yes, he’d be willing to make a movie in these conditions again, just not the next one.

“The next movie is on a beach,” he said with a laugh. “Sun and beer and beautiful girls.” 

SEE ALSO: Netflix is raising its prices starting this month

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NOW WATCH: We played the highly-anticipated new Super Mario game and were blown away

On Sunday, Disney officially announced that advance tickets for “Star Wars: The Last Jedi” will go on sale Monday night.

Similar to what the studio did for “The Force Awakens” in 2015, a trailer for “The Last Jedi” will show at halftime of “Monday Night Football” on ESPN with online ticket sales opening for the movie right after.

The game between the Minnesota Vikings and the Chicago Bears in Chicago starts at 8:15 p.m. EST.

“The Last Jedi” opens in theaters on December 15.

SEE ALSO: The director of Kate Winslet and Idris Elba's new movie recounts the grueling shoot at 11,000 feet — and how the crew almost revolted in the snow

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NOW WATCH: Jaleel White played Steve Urkel on 'Family Matters' for 9 years — here’s what he’s up to now

The PlayStation 4 is a fantastic video game console.

Maybe you already have one? Over 60 million people already do, and that's because it's a great system: It's fast and easy to use, it's got great games, and it does lots of cool stuff!

Maybe you're not convinced? That's possible: $299 is a lot of money to drop. But that price includes more than the console — you'll also get a great game like "Uncharted 4: A Thief's End."

In case that doesn't push you over the edge, here are 16 great reasons to pick up a PlayStation 4 right now.

SEE ALSO: Here's what you need to do to find Nintendo's $80 mini Super Nintendo

DON'T MISS: The 25 best games every PlayStation 4 owner should have in their library

1. It's less expensive than ever.

This is the number one reason to buy a PlayStation 4: It's a shockingly affordable console at this point. Since coming out at $400 in 2013, the console has dropped in price steadily over the years — you're now looking at $250 for a brand new PlayStation 4, and there are plenty of deals where you can get one with a game for an even better price.

As the holiday season ramps up, expect a mess of these types of bundles. But also let's not kid ourselves: at $250 for the PS4, you don't have to wait for a deal. 

2. PlayStation Plus continues to be the best deal in gaming.

Do you like awesome games? Sure you do! That's why you're considering buying a PlayStation 4 in the first place! How about awesome, free games? Because that's exactly what you'll get every month with a subscription to Sony's PlayStation Plus service.

It enables online play, sure, but more importantly you get free games every single month through the program. You keep the games for as long as you stay subscribed. The service literally pays for itself in two months. It is the biggest no-brainer of all no-brainers.

This should be your first purchase after buying the PlayStation 4 itself.

3. "Bloodborne."

Listen, "Bloodborne" is not for the faint of heart. You see that monster up top? That's not concept art. You're the comparatively diminutive hunter in the foreground in this equation, and that giant monster is surprisingly fast. Do the math.

"Bloodborne" is gorgeous/gruesome, tremendously challenging, and easily one of the best games on PlayStation 4. Oh, and to be clear: You can only play "Bloodborne" on the PlayStation 4. Here's a review-y thing my colleague Dave Smith wrote about the game— it goes into far more depth on why "Bloodborne" is so fantastic.

Netflix's library of original content has grown exponentially since it released its first big show, "House of Cards," in 2013.

Over the years, it has proven to be a hotbed for original drama programming, with shows like "Stranger Things" and "13 Reasons Why" becoming cultural sensations. 

With so many drama series 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 drama 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. We excluded shows that were continuations from other networks, like Channel 4's "Black Mirror."

Here are Netflix's 24 original drama 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):

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

24. "Iron Fist" — 17%

Critic score: 17%

Audience score: 77%

Netflix description: "Danny Rand resurfaces 15 years after being presumed dead. Now, with the power of the Iron Fist, he seeks to reclaim his past and fulfill his destiny."

23. "Between" — 22%

Critic score: 22%

Audience score: 71%

Netflix description: "After a mysterious disease kills every resident over 22 years old, survivors of a town must fend for themselves when the government quarantines them."

22. "Marco Polo" — 24%

Critic score: 24%

Audience score: 93%

Netflix description: "Set in a world of greed, betrayal, sexual intrigue and rivalry, 'Marco Polo' is based on the famed explorer’s adventures in Kublai Khan’s court."

American liberals and conservatives are divided in many aspects of life, including television preferences.

But social-media research firm Fizziology suggests there are three major TV shows that both conservative and liberal audiences like equally.

Here they are: "Dancing with the Stars," "Star Trek: Discovery," and "The Orville."

 Fizziology cofounder Ben Carlson pointed out that these shows "don't necessarily have a political flavor," and suggested that probably had a lot to do with why liberals and conservatives both enjoyed them.

"'Dancing with the Stars' — it's fun! There's all kinds of famous people dancing, and learning how to, and failing, and then succeeding. That's something that's kind of universal," Carlson said.

Carlson also remarked that he thought it was interesting that two of the TV shows enjoyed on both sides of the political spectrum were related to space and exploration, and connected to "Star Trek."

Carlson said he felt "longevity, and the fact that it's amazing storytelling," is what pulls in conservative viewers into "Star Trek," a show he felt had more traditionally "liberal" themes. And as for "The Orville," Seth McFarlane's "Star Trek" spoof, Carlson credits its appeal to liberal and conservatives to the fact that it's "something set in that world [space], but with humor."

"Dancing and space — these are the things that unite our country," Carlson said.

As to the other shows, according to Fizziology, those that liberals enjoy most have more diverse casts, and seem to center around modern life in "urban settings." Conservatives tend to favor shows with "traditional notions of heroism and bravery," which revolve around the military, or rescue workers.

Here are short descriptions of each of the three shows both sides agree on:

SEE ALSO: Conservatives and liberals love wildly different TV shows — here are the top series across the political spectrum

"The Orville"

"The Orville" follows a mediocre space crew traveling across the universe, combating the woes of everyday life as well as the dangers of space.

"Dancing with the Stars"

Celebrities (usually ones that haven't been in the lime light for a while) pair up with professional dancers in this competition reality show.

"Star Trek: Discovery"

The newest addition to the "Star Trek" series centers around the crew of the Discovery ship as they travel on an array of missions throughout the galaxy. 

New York City is home to some of the most expensive real estate in the world. The most expensive place to own a home in this expensive city, however, is Tribeca.

While back in the 1970s, the neighborhood attracted artists because of its many large lofts, today its relatively quiet streets entice the city's wealthiest businesspeople, as well as mega-celebrities like Beyoncé, Jay-Z, and Taylor Swift, who purchased a penthouse in the neighborhood for a reported $20 million in 2014. 

Today, according to StreetEasy data, the median sale price in Tribeca is $4.525 million. 

I recently strolled through the neighborhood to see why its real estate repeatedly tops the market. From its cobblestone streets to its plentiful restaurants, shopping, and parks, there seems to be very little reason to ever leave Tribeca once you've settled in.

SEE ALSO: This little-known Silicon Valley neighborhood is suddenly one of the hottest housing markets in America — take a look

DON'T MISS: A hedge funder once paid nearly $800,000 in rent to stay at this fashion mogul's home in the Hamptons — and now you can buy it for $45 million

"Tribeca" is an abbreviation for "Triangle Below Canal Street." Originally, the name referred only to a single block on Lispenard Street between Church Street and Broadway. Today, the neighborhood is understood to include the streets south of Canal down to Vesey Street, and from the West Side Highway to Broadway.

Source: Curbed

As for public transportation options, the neighborhood is serviced by the 1, 2, 3, A, C, E, N, Q, R, and W subway lines.

On the market in Tribeca right now are some of the city's most historic homes. This row of townhouses on Harrison Street was originally built in 1819 and made an official city landmark in 1966. Home 27A is currently on the market for $6.5 million.

Source: Douglas Elliman

Despite an 89% rating on Rotten Tomatoes, which included some critics saying it surpassed its legendary original in every aspect, "Blade Runner 2049" was not the moneymaker its studio, Warner Bros, or the industry had anticipated.

Though the movie easily won the domestic weekend box office with an estimated $31.5 million take, according to The Hollywood Reporter, it's a disappointing figure for a blockbuster that was on over 4,000 screens and a budget of $150 million (add another $100 million or so for the marketing).

Industry estimates going into the weekend had the movie earning around $43 million - $45 million after it started with a solid $12.6 million Friday (including $4 million from Thursday previews).

A major factor contributing to its underperformance looks to be the demographic. Young people go to a movie's opening weekend, but with "2049" having an R rating and a running time of over two-and-a-half-hours it wasn't a hot ticket, it seems. According to CinemaScore, only 14% of people in their exit polls were under 25. The movie's main audience, who grew up on the 1982 Ridley Scott futuristic noir starring Harrison Ford (who returns on "2049" opposite Ryan Gosling), the over-30 crowd, typically wait out the opening weekend crowds.

Not to say the movie will suddenly have a second life at the box office. What's more realistic is Warner Bros. has a well-executed sci-fi movie with a dazzling look that will become as much of a cult hit as the original movie was.  

But it's not all bad for the studio. WB's other movie in theaters, "It," is a sensation as it's now taking in over $600 million worldwide (made for only $35 million).

SEE ALSO: Pierce Brosnan talks about his new movie "The Foreigner," but isn't in the mood to discuss James Bond

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The Wu-Tang Clan album, “Once Upon a Time in Shaolin,” may go down as one of the most puzzling chapters in the history of the legendary rap group.

Only one copy exists and the person who paid a reported $2 million to buy it, former pharmaceutical executive Martin Shkreli, was convicted of securities fraud in August and recently placed the one-of-a-kind album on eBay.

But the biggest question has been the album’s authenticity. Is there an album? And if so, is it an official Wu-Tang album?

Business Insider brought these questions up to Wu-Tang member Method Man on Thursday.

“Yeah, I think there is an actual album,” Method Man said, while promoting the show he’s currently on, HBO’s “The Deuce.” “As far as recording, that’s as far as my reach went. When I was informed how they were approaching selling the album, I kind of flipped out, because I was misinformed by the person who gave me the information. It’s hard for me to speak on it because I wasn’t in the loop.”

Since Shkreli bought the album it’s become a legend of its own.

Rumors of the concept coming to Wu-Tang leader RZA while atop the Great Pyramid of Khufu, and that Bill Murray (a friend of RZA’s) was contractually allowed to take the album off Shkreli’s hands in a heist, spread far and wide. And Shkreli flaunted it every chance he had, live-streaming tracks after Donald Trump was elected president, and getting into a public spat over the album with Wu member Ghostface Killah.

Recently the big debate is whether "Once Upon a Time in Shaolin" is an official Wu-Tang album. Representatives for Method Man and fellow member U-God say it isn’t, and instead is the byproduct of tracks produced by Moroccan producer Tarik Azzougarh, also known as Cilvaringz.

Method Man, himself, doesn’t know.

“I wouldn’t know because I haven’t heard it,” he said. “I only know the tracks that I spit on. That is it.”

Looking back on the way the album was released, and the antics of Shkreli, Method Man thinks it was done all wrong.

“My personal opinion, I wouldn't have done it that way,” he said. “I would have just gave it to the people at the end of the day. But you have people that have families to feed, things of that nature. And then to have someone [buy the album] that is pretty much disliked by a lot of people based off something that had nothing to do with hip-hop, that made it worse.”

Method Man said fans shouldn’t be bummed over not being able to hear the “Once Upon a Time” album because a new Wu album is coming out October 15, “Wu-Tang: The Saga Continues.” That’s definitely an official album, he said.

The rapper-actor didn’t seem that interested in talking about the Shkreli situation, but he was amused that one of the prospective jurors at Shkreli's trial said in court, before being excused, that Shkreli “disrespected the Wu-Tang.”

“Yeah, you’ll be surprised how far that W stretches,” Method Man said.

SEE ALSO: Pierce Brosnan talks about his new movie "The Foreigner," but isn't in the mood to discuss James Bond

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NOW WATCH: Jaleel White played Steve Urkel on 'Family Matters' for 9 years — here’s what he’s up to now

• McDonald's brought back Szechuan McNugget sauce at select locations for one day— but failed to anticipate the extreme demand.
• Police had to be called to at least one location to deal with angry crowds.
• Demand to bring back Szechuan McNugget sauce exploded after the discontinued sauce was featured on "Rick and Morty."

McDonald's faced the fury of fans of the cartoon "Rick and Morty" when the fast-food chain failed to provide a sufficient amount of Szechuan McNugget sauce on Saturday.

On Saturday, October 7, select McDonald's locations across the country gave away Szechuan Sauce, in response to an avalanche of demands from fans of the Adult Swim cartoon.

However, demand for the sauce far exceeded the supply.

At 1:45 p.m. at a McDonald's in New York City, a crowd of teenage boys exited the fast-food location, screaming "There's no sauce left!"

Yet many failed to receive the message, with dozens of people crowding inside the fast-food location and lining up outside in hopes of getting either a "Rick and Morty" poster or a packet of the Szechuan sauce.

Even as some people realized that only 10 posters were available and 20 to 40 sauce packets per location (reports varied), more and more people joined the crowd, hoping for some sauce of their own.

"I left Comic Con for this," one woman in a "Szechuan Dipping Sauce" t-shirt sadly told Business Insider.

One couple said they had been told, essentially, to "f--- off" after trying to get in line for the sauce at noon. Upon returning closer to 2 p.m., they were told that all the sauce had been claimed.

Similar situations were taking place across the country, with enormous crowds of "Rick and Morty" fans showing up only to be told that there were only 20 sauce packets available.

People were outraged to find exactly how limited McDonald's "really, really limited" roll-out of the sauce actually was.

In Wellington, Florida, the scene heated up to such a degree that the police had to be called.

Outrage also exploded online.

"The best fans in the multiverse showed us what they got today," McDonald's tweeted Saturday afternoon. "We hear you & we're sorry not everyone could get some super-limited Szechuan."

However, for a lucky few, the chaos was worth it.

Zachary Epstein, Jackson Hoffman, and Jacob Secular were at the front of the line to get the sauce at the Manhattan McDonald's. The trio — all 12 years old and in seventh grade — had run to the McDonald's before 10 a.m. Secular had gone as far as to call the others' mothers to ensure his friends were awake and ready for their mission bright and early.

McDonald's employees forced Epstein, Hoffman, and Secular to leave, telling them if they didn't get out they wouldn't be able to get the sauce. The three camped out at a nearby Dunkin' Donuts, going back and forth to make sure no one else had started lining up. They started buying 35 cent tomato slices, in an effort to avoid being kicked out of McDonald's for not buying anything.

At around 1:30, the crowd was "getting a little out of hand." Employees handed out numbered slips, indicating customers' places in line. At exactly 2 p.m. — with a crowd filling the store and spilling out for almost a block on the street — Epstein, Hoffman, and Secular bought the Buttermilk Crispy Tenders and had the choice between getting a poster or getting sauce.

All three picked the poster. Apparently in an online taste test of the sauce, the tester had said it actually didn't taste like anything special.

SEE ALSO: People are willing to pay thousands of dollars for a jug of McDonald's Szechuan McNugget sauce that is one of only 4 in the world

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Most know Cliff “Method Man” Smith as one of the original members of the legendary rap group, The Wu-Tang Clan, but if you’ve been watching HBO’s “The Deuce,” you also know he’s got some acting talent as well.

Though he’s been acting in movies and TV since the late 1990s, playing pimp Rodney on the latest show from the creators of “The Wire” — which Method Man also starred in — is a high water mark for the rapper/actor. That's especially true in Sunday’s episode, where he delivers a scene-stealing performance opposite one of its main leads, Maggie Gyllenhaal.

Business Insider spoke to Method Man about the generosity Gyllenhaal showed him in preparing for their scene, if we’ll ever see a “How High” sequel, and if the album Martin Shkreli bought is really an official Wu-Tang album.

Jason Guerrasio: This past episode is when Rodney really shines. The character has an intense scene opposite prostitute Candy (Maggie Gyllenhaal), who he’s trying to recruit to his stable. Were you nervous going into shooting that?

Method Man: I’m always nervous before I shoot. Well, I won't say nervous, I get butterflies, which I think is normal so I think that's good. The thing that I had working on my side for this scene was Maggie, in all aspects. Not just her acting chops and her carrying us through that scene, but that fact that she took aside a day of work that she had, and rehearsed with me before we even shot the scene, that's gracious as hell. She did not have to do that. I'm not even a major character on the show.

Guerrasio: Going in you know it's a big scene for you, were you planning to approach Maggie yourself to see if she wanted to rehearse beforehand?

Method Man: I wanted to, but I didn't know how to ask, so I was just going in and let nature take its course. She made the call and said, “Can Cliff come in and we can rehearse if he wants to.” And I was like, “What? Yeah!” By the time we got on set we were ready to go. It was balled up energy ready to explode.

Guerrasio: On the shooting day, how many times did you go through that scene?

Method Man: I'd say the meat and potatoes of the scene, where we were moving with steadicam, that was shot about four or five times. But I haven’t seen the episode yet.

Guerrasio: I’m kind of shocked you haven't seen the episode yet. Is that just your style, you just don't want to see it?

Method Man: No. They just haven't given it to me. I don't have the same kind of access Maggie and James [Franco] have, and I'm fine with that because I want to enjoy the show just like everybody else. But to Maggie's credit, in that scene, from the rehearsal it was more or less let's try it like this and if it doesn't work f--- it, we're in the realm. And I had a hang-up about f------ up on certain words and she was like, “Don't even worry about it, if you go with something else, use it.” So it was a learning experience as well as knowing the magnitude of the scene, that I was in with someone who is certified. So I knew I did not want to be the ugly person in the picture. You know you have a picture of a bunch of beautiful people posing perfectly, and then one person got the ugly face. Ruins the whole picture.

Guerrasio: You've worked with a lot of big names in front of and behind the camera, had you ever gotten that graciousness in the past that Maggie gave you?

Method Man: Yeah. My man Tom McCarthy, who directed “The Cobbler.”

Guerrasio: Who is an actor himself, so he knows what's needed.

Method Man: Absolutely. I mean, he walked me through things step-by-step, and that's who reinvigorated my love for acting. It made me really want to get serious about it.

Guerrasio: So that was the experience that got you serious about acting?

Method Man: Yeah. When we did rehearsing I'm in there with Adam Sandler and Ellen Barkin, Dustin Hoffman, so I was very nervous and anxious. But when we got on set Tom didn't baby step me though it, he was just like, “You got this, you got the job already, get rid of the anxiety, let's do it!” And he made it fun for me, and I said, "F---, now I get it!" I can't put in words, it was just like, "Yeah, I can't wait to do the next role and try this or that." I took the blue pill and I'm ready.

Guerrasio: How did you get involved with "The Deuce?" Is it a call from show creators George Pelecanos or David Simon? You were on "The Wire,” do you have that clout now?

Method Man: I think there's a very short list of people who don't have to audition for a David Simon project. Very short list of people. I have had to always audition. I came in for this, and I was willing to do it, but I wasn't notified by David or any of his people, it was casting person Alexa Fogel. She was responsible for getting me on "Oz," "The Wire," and those are all parts I had to read for. I auditioned first for Reggie Love, the part that Black Thought from The Roots got, and she also sent me C.C.’s part. So basically when I came in to audition for David and a few others I literally auditioned for Reggie Love, got up, walked out, walked right back in and auditioned for C.C.

Guerrasio: [Laughs.]

Method Man: And didn't get either part, by the way.

Guerrasio: So when did Rodney come around?

Method Man: Rodney came around when they called me and said I got the part. And I was like, “Who is it?” And they were like, "It's Rodney," and I'm like smiling the whole time but I'm like, "Who the hell is Rodney?" And I started reading the script and I was like I exactly know who Rodney is, let's go.

Guerrasio: The look of Rodney is amazing, did you help give birth to his look?

Method Man: Very little. It was really all the wardrobe, hair and makeup departments. They did their thing.

Guerrasio: Which role that you've played in your career is most memorable for you? Your favorite.

Method Man: It was on television, an episode of "Difficult People." That's my favorite thing that I've done of anything right now. Because that whole episode it was just me being me. They didn't ask me to be some exaggerated version. Even though I did take liberties at certain points because they made me feel that comfortable to do that.

Guerrasio: I’m not familiar with it, but I see that the character name for that episode is Method Man, so is it safe to say that's the real Meth right there?

Method Man: Yeah, pretty much in a nutshell, yes sir.

Guerrasio: This has always bugged me, why the accent in “Trainwreck?"

Method Man: They wanted him to sound West Indian or Jamaican. I needed a movie part. I love Amy Schumer. I didn't know the movie would be big or not, I just knew I loved Amy and wanted to work with her. So I came in there with some pseudo-African/Jamaican/bad Trinidad accent. I had way more scenes than that but I guess the accent was so bad Judd Apatow tried to save me from being embarrassed and took it all out.

Guerrasio: It's funny because you watch that movie and go, "Oh, Method Man is in this movie, cool," and then you talk and it’s like, "Oh really?"

Method Man: [Laughs.]

Guerrasio: I’m sure you get this a lot, but will we ever see a “How High 2?"

Method Man: I’m not sure. If there is one, hopefully there is, I'll be all over it if it's the right subject matter and funny. If it's not funny I don't want no part of it.

Guerrasio: But is it just a pipe dream or have you gotten calls that it's serious?

Method Man: No. There have been attempts, no lie. Script is written. The studio turned it down. And then we weren't happy with the material. Right now, I don't know where it is, it's in limbo. But there are people, from what I've heard, are behind the scenes trying to get some kind of “How High” movie done. I guess we'll see. I don't want it to be a video-on-demand type thing. I won't be participating in that.

Guerrasio: "How High" did get a second life, I want you to know that.

Method Man: Really, "How High"?

Guerrasio: Yes. When that's on a movie channel it's one of those movies you watch because it's a fun time. People discovered that movie once it hit cable.

Method Man: I appreciate that. See, that's how I look at other people's movies. It's hard for me to watch that movie and feel that way because I was actually there for the experience. But that's mad cool. I will never be able to enjoy my accomplishments the same way someone from the outside will. I have to enjoy it from someone else's eyes.  

Guerrasio: Let's finish with Martin Shkreli. Is there really a “Once Upon a Time in Shaolin” album?

Method Man: Yeah, I think there is. I believe that is an actual album. But as far as recording, that's as far are my reach went, which is why when I was informed how they were approaching selling the album I kind of flipped out because I was misinformed by the person who gave me the information. But it's hard for me to speak on it because I wasn't informed, I wasn't in the loop. It's just next thing I know this dude had the album and I felt no kind of way about it.

Guerrasio: Is it an official Wu album?

Method Man: I wouldn't know because I haven't heard it, I only know the tracks that I spit on. That is it. So for me, especially with music, my personal opinion, I wouldn't have done it that way. I would have just gave it to the people at the end of the day. But you have people that have families to feed, things of that nature. Maybe without all the glamour and glitz on it it could have been done better because it was lost in translation whatever kind of message they were sending. And then to have someone [buy the album] that is pretty much disliked by a lot of people based off something that had nothing to do with hip-hop, that made it a little bit more worse.

Guerrasio: Is there a Wu album for the people coming soon?

Method Man: October 15 a Wu album will be dropping called “Wu-Tang The Saga Continues.” First video is out right now called “People Say.” I personally don't like the video. But the song is pretty dope.

Guerrasio: What's wrong with the video?

Method Man: I always have problems with editors. If an editor can dance, if they can keep a rhythm, then they can edit. That's just my opinion. Music video director Diane Martel, she's not an editor but she sits in and she's responsible for “Bring the Pain” and “All I Need,” “How High,” her cuts always come on beat. So if you can't keep my interest on beat and your cuts are all over the place you're going to lose my interest pretty fast. But I'm a trained eye. I don't know how everyone else will perceive it.

Guerrasio: Did you hear what a prospective juror said at the Shkreli trail? That Shkreli "disrespected the Wu Tang."

Method Man: Yeah. You'll be surprised how far that W stretches man.

Guerrasio: Are you still shocked by the power of the Wu?

Method Man: I’m always shocked, brother. I take my blessings as they come and it's always new to me. That's how I feel about it. That's how I want to keep it. I always want the feeling to be new, never want to get used to it.

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Harvey Weinstein, the film producer and co-founder of Miramax Films and the Weinstein Company, has long been known for behaving inappropriately towards women within Hollywood circles.

Yet until a New York Times report detailed nearly three decades' worth of sexual harassment allegations against him from women in Hollywood, he was able to retain his job and the vast influence he has in Democratic Party politics.

Already known as the "most powerful man in Hollywood," Weinstein has personally donated over $750,000 to Democratic politicians and organizations since 1991, and has became one of the largest fundraisers for the Democratic Party in Hollywood. Here's a chronology of how he acquired his political empire: 

SEE ALSO: Women in Hollywood react to the Harvey Weinstein sexual harassment allegations

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Weinstein's political involvement began in the early 1990s.

Weinstein began to make contributions to the Democratic Party in 1991, when he gave money to Sen. Barbara Boxer of California and Sen. Patrick Leahy of Vermont. Over the next few years he gave relatively small amounts — all $2,000 or less — to Sens. Barbara Boxer and Diane Feinstein, along with several other Democratic senators. He also began giving to Democratic Party organizations for the first time, initially to the Democratic State Central Committee in California.

It was also during this period that Weinstein allegedly began to harass several of the women named in the New York Times report.

Weinstein began supporting the Clintons in the mid-1990s.

In the later half of the 1990s, Weinstein  began donating to a broader set of politicians and doing so much more frequently ahead of the 1996 and 1998 elections. He also made his first contribution to the Clinton family at the start of Bill Clinton's re-election campaign in 1995, and made his largest donation up to that point in 1996 when he gave $10,000 to the Democratic National Committee Services Corporation.

As a result of his rapidly growing financial ties to the Democratic Party, he began appearing at events with Bill and Hillary Clinton and other party heavyweights like Sen. Chuck Schumer.

Weinstein invested both time and money to support the Democratic Party and Al Gore in the 2000 presidential election.

Since The New York Times published a bombshell report last week, filled with sexual harassment accusations against film producer Harvey Weinstein spanning decades, most late-night hosts and shows (including "SNL") have stayed away from the topic.

But Sunday, Weinstein was fired from The Weinstein Company, and John Oliver took aim at him on "Last Week Tonight."

Oliver first pointed out that this week marked the one-year anniversary of the Donald Trump "Access Hollywood" tape leak. Then Oliver brought up the Weinstein story in the Times, calling the movie executive's response "infuriating."

"He and his attorneys admit that he needs help, while also denying the charges and threatening to sue the Times," Oliver said.

Oliver also cited the statement’s opening remarks, which read:

“I came of age in the 60s and 70s, when all the rules about behavior and workplaces were different. That was the culture then. I have since learned it’s not an excuse, in the office – or out of it. To anyone.”

“Yeah, you’re right. Your excuse isn’t an excuse,” Oliver said. “In fact, it isn’t even an excuse for that behavior in the '60s."

Then, mocking Weinstein, Oliver said: "Well, back then we had no idea that women didn’t want to be forced to look at d---s! That wasn’t discovered by scientists until 1998. It was a different time.'”

One day after the Times published its report, Fox News reporter Lauren Sivan went on record saying that Weinstein pleasured himself in front of her, after she declined his advances at a restaurant in New York in 2007. When telling the story, Oliver noted that according to Sivan, Weinstein finished "quickly into a potted plant."

"So, step aside, 'Chocolat,'" Oliver said. "You are no longer the most horrifying picture Harvey Weinstein has ever produced."

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The $80 Super Nintendo has 21 games, but it could have hundreds of games.

A new hack of the miniature game console enables exactly that:

As you can see above in the console's menu screen, games can be added to the console's library — "Super Mario World" and "F-Zero" are two of the 21 games included on the console out of the box, but the games to their left are all additions. Games like "Zombies Ate My Neighbors" are beloved, yet they're sadly missing from the Super NES Classic Edition.

Rather than waiting on a solution from Nintendo, hackers have already figured out how to load far more than 21 games into the game's 300 MB of storage.

To be all the way clear, these games weren't added "officially"; Nintendo doesn't offer a way to add more Super Nintendo games to the Super NES Classic Edition console. These were added through a relatively simple hack that allows owners of the SNES Classic Edition (who also own a PC) to add whatever games they want. 

The hack is a basic PC program named "HackChi," which enables users to connect the Super NES Classic Edition to a PC and add SNES games. Since many Super Nintendo games are small in size, and the mini console has far more storage space than it needs for the standard library of 21 games, it's a cinch to add a few hundred of your favorite games. 

That said, you're entering dubious legal territory when it comes to downloading old games. Even if you own the original cartridge, you don't own rights to download digital versions of that cartridge's contents. And that's before we start talking about the potential to break your SNES Classic Edition by using hacked software to add games.

In so many words: Beware if you decide to hack into your Super NES Classic Edition.

Check out a video of a hacked console in action right here:

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On Sunday, Defy Media fired the creator of its popular YouTube series, "Honest Trailers," after an investigation into allegations of sexual harassment and abuse.

"Honest Trailers" spoof the traditional blockbuster film format, and include snarky commentary that poke fun at the films. "Honest Trailers" has created trailers for "Blade Runner," "Guardians of the Galaxy Vol. 2," and more.

Defy released an official statement announcing Andy Signore's termination would be "effective immediately."

The company said it had been investigating his behavior since August, and that there was "simply no justification for his egregious and intolerable behavior.”

Emma Bower, a former intern of Signore's, wrote a detailed Facebook post last week alleging Signore tried to masturbate in front of her while she was working for him.

April Dawn, a Screen Junkies fan, also shared her personal account with Signore on social media, alleging that he tried to assault her multiple times and offered her a position at Screen Junkies in return for sexual favors.

In Dawn's statement, she said she and two other women went to the Screen Junkies HR department, but their claims were not taken seriously.

Defy owns the YouTube channel Screen Junkies, which airs the series created by Signore every Tuesday. Screen Junkies has over six million YouTube subscribers, and the 225 videos of "Honest Trailers" have been viewed a combined 157,346,025 times.

Here is Defy's full statement on Signore's termination:

DEFY Media and Screen Junkies have today terminated Andy Signore’s employment, effective immediately. There is simply no justification for this egregious and intolerable behavior.

In August, DEFY’s HR team was made aware of allegations made against Andy, at which time an investigation was launched. On Friday, new information became available and the scope and magnitude of his inappropriate actions became apparent. We are acting swiftly to address the concerns of the people affected, and that going forward, our community is free of harassment or discrimination of any kind.

Our Screen Junkies colleagues and freelancers are a team of remarkable creators serving loyal fans and we will support and protect them. If anyone else is aware of behavior of this type, we would encourage them to bring it to our attention.

SEE ALSO: Harvey Weinstein has been fired from his own company

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Economist Richard Thaler was awarded the 2017 Sveriges Riksbank Prize in Economic Sciences in Memory of Alfred Nobel for his contributions to behavioral economics on Monday.

It's generally considered to be the most prestigious prize for the field of economics.

In addition to his day job as an economist, Thaler once had a cameo appearance in the film "The Big Short," next to pop star Selena Gomez.

In the scene, Gomez explains the concept of the "hot hand fallacy," a key behavioral feature that drove the rise of synthetic collateralised debt obligations — one of the key drivers of the US subprime mortgage crisis in 2007.

"The Big Short" movie is based on Michael Lewis' book "The Big Short: Inside the Doomsday Machine" on the 2007-2008 financial crisis. 

You can watch the scene in clip below starting around the 3:31 minute mark, courtesty of Youtube.

SEE ALSO: Meanwhile, former Fed chair Ben Bernanke was on 'The Big Bang Theory' a while back

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NOW WATCH: Debating the odds of a stock market correction

In the last five years, more than 700 million people visited a Disney park. According to Steven Cahall, an analyst at RBC Capital Markets, that massive number could give investors an idea of the potential size of Disney's soon-to-be streaming service.

Cahall thinks that the massive fan base that Disney has grown over the years will translate into several million subscribers when the company launches its movie and TV streaming service in 2019.

Disney announced earlier this year that it would be pulling many of its movies and television shows off of partner platforms like Netflix in order to start its own streaming service. Disney's move is part of a recent trend of content producers siloing their content behind their own paywalls to better monetize their content. CBS recently pulled most of its highly-anticipated "Star Trek: Discovery" series behind a paywall, in another example.

Cahall said that the streaming service could have 5 million subscribers in 2020 if it is priced similarly to its competition. But, if the service is priced to grow quickly, 20 million subscribers is not out of the question.

For comparison, Netflix started its streaming business in 2007 and has grown it to 51.92 million subscribers in the US over the last decade. It has another 52 million international subscribers.

20 million subscribers could be the number that also changes how investors view the company, Cahall said. Disney currently trades at about 10 times its earnings, but its media peer group is traded at a much higher multiple. Seeing a huge subscriber number would force investors to weight Disney's media business more heavily, which could send the stock higher.

Because of his expectations for the success of Disney's upcoming streaming service, Cahall rates Disney as one of his top stock picks. Cahall has a price target of $125 for the stock.

Disney is currently trading around $100.81 and is down 4.92% this year. Disney did rise about 0.79% on Monday after Cahall's report, though.

To read more about how investors went rabid over Netflix's recent price hike, click here.

SEE ALSO: Netflix is popping after reports of rising subscription prices

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Jennifer Lopez has left the building.

The singer-actress has listed her New York City penthouse, located in The Whitman, a luxury four-unit building overlooking Madison Square Park, for $26.95 million.

Adam D. Molin, founder of Molin Group, holds the listing.

Lopez — who raked in $38 million in pre-tax earnings last year — bought the 6,540 square-foot duplex, complete with four outdoor terraces, for $20 million in 2014.

Even with Lopez on the way out, the halls of The Whitman will remain star-studded. Residents include former first daughter Chelsea Clinton, hedge fund manager John Silvetz, and NASCAR's Jeff Gordon.

Take a peek inside 21 East 26th Street:

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The Whitman Mansion was originally built in 1924 in New York City's trendy Flatiron neighborhood. The building was converted into boutique condominiums in 2013, with listing prices starting at $10 million.

Source:Curbed New York

Referred to as "the crown jewel" of the Whitman — which has a private gym and 24-hour doorman — the penthouse comprises 6,500 square feet of interior living space across two floors and 3,000 square feet of outdoor space on four separate terraces.

Source:Zillow

A private elevator opens up to a sun-filled great room with a skylight and three sets of French doors boasting up-close views of Madison Square Park. The penthouse has four bedrooms and six-and-a half bathrooms.

Actors John Krasinksi and Emily Blunt have placed their Brooklyn townhouse, located in Park Slope, on the market for $8 million with Corcoran.

Despite their recent renovations to the home, the couple told The Wall Street Journal that they're not spending enough time there due to their acting work. "The house is so special — someone who can spend every night there should have it," Krasinksi said.

See the seven-bedroom house that's just steps away from Brooklyn's Prospect Park, below.

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The couple purchased the home in 2016 for $6 million.

Originally built in 1909, recent renovations done by Michael Ingui of Baxt Ingui Architects kept many of the original details — such as its crown moldings — intact.

The home is 5,200-square-feet and has four flours.

The founder of the entertainment website The Wrap says The New York Times gutted an article involving sexual-harassment allegations against the Hollywood mogul Harvey Weinstein over a decade ago after pressure from Weinstein and A-list celebrities.

Weinstein was fired by the board of The Weinstein Company, which he cofounded, on Sunday after The Times last week published an exposé detailing decades of sexual-harassment allegations against him.

In a column on Sunday, Sharon Waxman responded to the Times media columnist Jim Rutenberg's argument that many news-media outlets enabled Weinstein by failing to report what was an open secret in Hollywood.

Waxman said she "gagged" when she read the column, writing that when she was a reporter at The Times in 2004, she got permission to investigate Weinstein's history of sexual misconduct when he was heading up Miramax.

Waxman said she uncovered evidence that Weinstein paid off a woman in London who said she had an unwanted sexual encounter with the Hollywood mogul.

But the Wrap founder said the paper bowed to pressure after the movie stars Matt Damon and Russell Crowe made direct appeals to Waxman to vouch for Fabrizio Lombardo, the head of Miramax Italy, whom Waxman suspected was covering up Weinstein's sexual activity overseas. Waxman also said Weinstein showed up to the Times offices.

Additionally, Waxman accused her then-editor Jonathan Landman of gutting the story she ended up writing about Lombardo of "any reference to sexual favors or coercion" and of asking her why the story was important in the first place.

"He's not a publicly elected official," Waxman said Landman told her.

Waxman said she "explained, to no avail, that a public company would certainly have a problem with a procurer on the payroll for hundreds of thousands of dollars."

Others involved disputed Waxman's account.

Landman pushed back against her claims, saying he did not remember the conversation she mentioned.

"It seems pretty unlikely that it ever happened as she relates it because, really, I do know that you don't have to be an elected official to be a public figure who is a legitimate focus of journalistic inquiry." Landman told Business Insider in an email.

The editor, who now works for Bloomberg, also noted the resources the paper poured into the story and pointed out that Waxman "has now had more than a decade to pursue this story unencumbered by me or any New York Times editor."

"Why, if she had the goods on Weinstein in 2004, has she been unable or unwilling to publish something in the Wrap, where she was in charge? Could it be because she didn't actually have the goods then, now or in-between?" Landman asked.

"Also, if the Times had really been intent on protecting Weinstein, wouldn't it be odd to send a reporter to pursue this story on two continents, at considerable time and expense?"

The New York Times also responded to Waxman's assertions through a spokeswoman.

"No one currently at The Times has knowledge of editorial decisions made on that story," the spokeswoman said. "But in general the only reason a story or specific information would be held is if it did not meet our standards for publication."

Waxman appended her initial story to address why she hadn't continued to pursue the story at The Times or The Wrap, saying "the moment had passed" to write about Lombardo and she "did not have sufficient evidence to write about a pay-off."

"My focus was on raising money, building a website and starting a media company," Waxman wrote. "In the subsequent years since then I did not hear about further pay-offs or harassment and thought the issue was in the past. Weinstein had made a big effort, supposedly, to curb his temper and behavior, which was reflected in other areas of his public life."

In a brief telephone call on Monday, Rutenberg applauded Waxman's attempt to chase the story in 2004 and said he was waiting for responses from some people at The Times about Waxman's claims.

But he also said last week's bombshell exposé of Weinstein's actions was concrete, and he questioned whether Waxman's initial reporting was well-sourced and solid enough to support her claims.

"It's very documented — it's very on the record," Rutenberg said of last week's Weinstein story. "I get where Sharon might come from, because it can be really hard and frustrating, which means the story lands because they're solid, hopefully."

Representatives for Damon and Crowe did not respond to Business Insider's request for comment.

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