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6 new Netflix original shows got trashed by critics in 2017 — here's the list

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Gypsy Netflix

For the most part, Netflix had an accomplished year in producing a number of great original shows.

But the company also had a handful of new series that critics tore apart. 

From the lackluster Naomi Watts-led series "Gypsy," to the disappointing Marvel show "Iron Fist," six shows that Netflix debuted in 2017 received heaps of negative reviews on their way to earning a "Rotten" score from the reviews aggregator Rotten Tomatoes. 

Here are the six worst Netflix original shows that debuted in 2017, ranked from bad to worst, according to critics:

 

 

SEE ALSO: All 26 notable Netflix original shows that debuted in 2017, ranked from worst to best

6. "Girlboss" — 31%

Critic score: 31%

Audience score: 72%

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."

What critics said: "Watching an ignorant but energetic youngster rebel against adulthood is nothing new, and Girlboss' iteration would be fine if it showed some semblance of self-awareness." — IndieWire



5. "Neo Yokio" — 30%

Critic score: 30%

Audience score: 56%

Netflix description: "Joined by his faithful mecha-butler, Kaz Kaan pursues love, fashion and supernatural forces amid Neo Yokio's sinister high society."

What critics said: "There's a lot of talent involved in Neo Yokio... Yet, somehow, the show has no soul. It's dead on arrival." — The Verge



4. "Gypsy" — 24%

Critic score: 24%

Audience score: 85%

Netflix description: "Therapist Jean Holloway develops dangerous and intimate relationships with the people in her patients' lives in this simmering psychological thriller."

What critics said: "It's all fun and games until you desperately start hoping that your protagonist loses her malpractice suit." — The Village Voice



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The 5 best new songs you can stream right now

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pharrell williams kendrick lamar

This week, Pharrell Williams' N.E.R.D released a new album that features Kendrick Lamar, and MGMT dropped an eccentric new single.

SEE ALSO: The 25 best songs of 2017, ranked

N.E.R.D — "Don't Don't Do It!" (feat. Kendrick Lamar)

With writing from Frank Ocean and an impactful verse from Kendrick Lamar, Pharrell Williams' N.E.R.D takes on police brutality on the rock-influenced "Don't Don't Do It!" a highlight from the group's self-titled, fifth studio album. 



SZA — "The Weekend" (Calvin Harris Remix)

Continuing in the spirit of his latest album, "Funk Wav Bounces Vol. 1," Scottish producer Calvin Harris released an upbeat, funk take on SZA's contemplative, hit single "The Weekend," with an album cover that references the Matisse painting "Dance."



Christian Scott aTunde Adjuah — "Freedom Is A Word" (feat. Vic Mensa)

Christian Scott aTunde Adjuah, an acclaimed jazz trumpeter from New Orleans, teams with Chicago rapper Vic Mensa on the dark single "Freedom Is A Word," a social commentary on the epidemic of violence in Mensa's hometown.



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All the women who have accused Dustin Hoffman of sexual misconduct

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Dustin Hoffman Jamie McCarthy Getty final

  • Oscar-winning actor Dustin Hoffman has been accused of sexual harassment and assault by multiple women.
  • The accusations against Hoffman span decades.
  • These are all the women who have come forward with accusations against him so far.


Allegations of sexual harassment and sexual assault against Oscar-winning actor Dustin Hoffman continue to surface, with new allegations published in Variety and The Hollywood Reporter this week.

Hoffman, now 80, has seven Oscar nominations for films including "The Graduate," "Tootsie," and "Kramer vs. Kramer." He has won twice, for "Kramer vs Kramer" and "Rain Man."

The accusations against Hoffman span decades, and range from alleged sexual harassment to inappropriate touching and sexual assault. Several women claim that Hoffman exposed himself to them when they were teenagers. 

Here are all the women who have accused Dustin Hoffman of sexual harassment or assault, including details of their accusations:

SEE ALSO: 2 women say Dustin Hoffman sexually assaulted them, and a third says he exposed himself to her when she was 16

Anna Graham Hunter said Hoffman spoke openly about sex in front of her and groped her.

In early November, writer Anna Graham Hunter accused Hoffman of sexually harassing her when she was 17 years old, in a guest column she wrote for The Hollywood Reporter.

Hunter said that while interning as a production assistant on the set of "Death of a Salesman" in 1985, Hoffman, who starred in the film, would speak openly about sex in front of her and inappropriately touched her.

Hunter also alleged that Hoffman made sexually explicit remarks in front of her, including one time when the actor asked her, "So, did you have sex over the weekend like I told you?"

According to Hunter, Hoffman also felt her butt four times while she walked him to his limousine on one occasion.

"He was a predator, I was a child, and this was sexual harassment," Hunter wrote.

In a statement to The Hollywood Reporter, Hoffman said: "I have the utmost respect for women and feel terrible that anything I might have done could have put her in an uncomfortable situation. I am sorry. It is not reflective of who I am."



Kathryn Rossetter accused Hoffman of groping her repeatedly when they were in a play together.

Actress Kathryn Rossetter accused Hoffman of groping her while the two acted in a Broadway revival of "Death of a Salesman" in 1983.

Rossetter wrote of her alleged experiences with Hoffman in early December in a guest column for The Hollywood Reporter

Rossetter alleged that after Hoffman went out of his way to campaign for Rossetter to get the role of Willy Loman's mistress, "the Woman in Boston," he began to physically violate her throughout the production. 

Rossetter performed alongside Hoffman six to eight shows a week, and in that time, she claimed the actor would fondle and grope her off stage "almost every show." 

At parties, Rossetter said that whenever Hoffman took a picture with her he would put his hand around her rib cage and then grab her breast just before the picture was taken.

"Only by luck do I have one such picture — where the camera caught him in the act," Rossetter wrote. That picture is included in the THR column.

According to THR, Hoffman’s representatives declined to comment but brought forth individuals who worked on “Death of a Salesman” and did not witness the conduct described in the column.



Wendy Riss Gastiounis said Hoffman made inappropriate sexual comments to her during a professional meeting, and asked her to go to a hotel with him.

"Genius" producer Wendy Riss Gatsiounis said that Hoffman sexually harassed her during a meeting she had with him in 1991, in an interview with Variety.

Riss Gatsiounis met with Hoffman and screenwriter Murray Schisgal to discuss her new play “A Darker Purpose,” and the possibility of turning it into a movie.

At one meeting, Riss Gatsiounis alleged that Hoffman asked her if she had "ever been intimate with a man over 40." Riss Gatsiounis was in her 20s at the time, and Hoffman was 53.

“I’ll never forget — he moves back, he opens his arms, and he says, ‘It would be a whole new body to explore,'” Riss Gatsiounis said. “I’m trying to go back to my pitch, and I’m trying to talk about my play. Then Dustin Hoffman gets up and he says he has to do some clothing shopping at a nearby hotel, and did I want to come along? He’s like, ‘Come on, come to this nearby hotel.'”

Hoffman declined to comment to Variety.

 



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A Firefox marketing stunt for 'Mr. Robot' went wrong when people thought they'd actually downloaded a virus

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Mr Robot

  • Firefox users are upset after a marketing deal with "Mr. Robot" made some users think they had accidentally infected their computers.
  • Mozilla pushed a mysterious add-on for Firefox called "Looking Glass 1.0.3," with no description other than "MY REALITY IS JUST DIFFERENT THAN YOURS," causing concern.
  • Some Firefox fans, and at least one employee, say that it was a breach of trust with Mozilla.

Users of the popular Mozilla Firefox web browser are up in arms after a viral marketing stunt for the hit hacker drama "Mr. Robot" made them think they had somehow accidentally downloaded a real-world virus. 

The confusion began earlier this week, when Firefox users noticed that the browser suddenly had an "add-on" extension called "Looking Glass 1.0.3." It had no description, other than "MY REALITY IS JUST DIFFERENT THAN YOURS" and the names of the people who created it.

"I did not remember installing this addon, I would not knowingly install it. Firefox, Antivirus and OS are all up-to-date. Any explanations welcomme because I can't find any reference online," wrote a user on Mozilla's official Firefox support forums earlier this week

A little bit of detective work from the Firefox community turned up the truth about "Looking Glass," confirmed by Mozilla. It's a so-called "alternate reality game," letting fans of "Mr. Robot" follow a bunch of show-related clues and turn up more information about this season's story. Mozilla also confirmed that it was an official part of Firefox, and that you had to explicitly find it and turn it on before it does anything, as part of the game.

This explanation did not satisfy Firefox fans, who wondered why and how Mozilla was allowed to install add-ons to Firefox without the permission of users — especially an add-on that sounds so vague and sinister. Even Mozilla developer Steve Klabnik took to Twitter to complain about how his employer handled the deal: "This is totally indistinguishable from malware," he wrote.

looking glass firefox robot

"You need use [sic] a meaningful description - not some random quote that you think might be cute. It's not amusing to the millions of users who are thinking WTF," wrote a Firefox fan on the support forum in a highly-rated post.

On Thursday, the add-on was updated to "Looking Glass 1.0.4," and now spells out the marketing deal, calling it " a collaboration between Mozilla and the makers of Mr. Robot to provide a shared world experience."

Still, it seems like the damage is done. Much of Firefox's popularity is due to the perception that Mozilla is more focused on user choice and privacy than Google and its leading Google Chrome browser.

"I'm glad that Mozilla is so serious about the principles of security and privacy and knowing what information I'm sharing online, that they installed telemetry and didn't tell me about it," joked a user on Reddit.

"We need our users to trust that we are honestly advocating in their best interests. This is completely counter to that," wrote Klabnik on Twitter.

Mozilla did not immediately respond to a request for comment.

SEE ALSO: Here are all the nominees for the 2018 Golden Globes

Join the conversation about this story »

NOW WATCH: Sophia, the world's first-ever robot citizen, has a message for humanity this Thanksgiving

If you buy the $500 Xbox One X by the end of the year, you'll get a free copy of 2017's best game

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PlayerUnknown's Battlegrounds

  • The best game of 2017, "PlayerUnknown's Battlegrounds," just arrived on Xbox One.
  • The game is already off to a huge start, with over 1 million people playing the game in the first 48 hours it was available.
  • In celebration of its launch, Microsoft is giving away copies of the game to anyone who buys the new Xbox One X console.


The best game of 2017 has finally arrived on consoles — "PlayerUnkown's Battlegrounds" launched on December 12, exclusively on the Xbox One.

The game is already off to a strong start: Over 1 million people played the game in the first 48 hours of availability.

That's in addition to the over 20 million people already playing "PUBG," as it's known, on the PC. 

In celebration of this achievement, Microsoft is giving away copies of "PUBG" to anyone who buys the Xbox One X console between December 17 and December 31. 

Xbox One X / PUBG

Of note: You don't get a free copy of "PUBG" with a standard Xbox One, or an Xbox One S model — only the new, $500, very powerful Xbox One X console. That's the version of the Xbox One that's capable of powering "native" 4K/HDR games and movies — the version of the Xbox One you should only buy if you already own or are planning to buy a 4K/HDR-capable television. Still, it's a nice bonus for anyone looking to drop five hundred big ones on the latest version of the Xbox. 

If you're in the market for the $500 Xbox One X, yet still haven't heard anything about "PUBG" somehow, the game's premise is simple: You're one of 100 people dropped onto an abandoned island, unarmed, and your goal is survival. Like "The Hunger Games," the only way to survive is by killing off your opponents using weapons you'll find on the island. It's a brutal, brilliant game — our favorite game of 2017, even.

Check out the Xbox One launch trailer for "PUBG" right here:

SEE ALSO: The best game of 2017 is now available on Xbox, and it's crazier than ever

DON'T MISS: 16 reasons why now is the perfect time to buy an Xbox One

Join the conversation about this story »

NOW WATCH: The differences that matter between Splenda, Equal, Sweet’N Low, and sugar

The Disney-Fox deal could create a Hollywood giant (DIS, FOX)

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Disney's plans to acquire most of the assets of 21st Century Fox could reshape Hollywood. Assuming the $52.4 billion deal goes through, the Mouse House will get the rights to the "Avatar" movies, full control over movies based on Marvel's X-men characters, and the rights to distribute the original "Star Wars" movie. As we can see in this chart from Statista, Disney was already the top movie studio; adding on Fox's assets should cement its lead.

But the move is about more than movies. The deal includes Fox's 30% stake in Hulu, which would make Disney the majority owner of the streaming service and put it in a good position to compete with Netflix.

COTD_12.15

SEE ALSO: E-waste is a huge and growing problem — and the US is a big reason why

Join the conversation about this story »

NOW WATCH: Here's why Boeing 747s have a giant hump in the front

The father of virtual reality sounds off on the changing culture of Silicon Valley, the impending #MeToo backlash, and why he left Google for Microsoft

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BI Interview 1200

jaron lanier

Widely recognized as the father of virtual reality, Jaron Lanier has been hugely influential in shaping the technology of today. Lanier's work is considered foundational to the field of VR; he's spurred developments in immersive avatars, VR headsets and accessories, and was involved in early advancements in medical imaging and surgical simulator techniques. He's also credited with coining the phrase "virtual reality."

In addition to his work as a programmer and inventor, Lanier is a prolific author and celebrated tech critic. His most recent book, 'Dawn of the New Everything,' explores his upbringing in New Mexico, his years pioneering virtual reality in Silicon Valley in the 1980s, and his experiences working with pre-eminent scholars, critics, scientists, and developers.

Lanier sat down with Business Insider's Zoë Bernard and Steven Tweedie to chat about his latest book, the current debate over the impacts of social media, his decision to join Microsoft after working at Google, and whether or not artificial intelligence will eventually wreak havoc on humanity.

This interview has been edited for length and clarity.

Steven Tweedie: In the last year, we've seen an adjustment to expectations when it comes to the consumer market for virtual reality and the hype around VR in general. What would you say to those skeptical of whether or not it will take off?

Power Glove

Jaron Lanier: Let’s break this down just a little bit. First of all, there’s one side of VR which is the industrial side, not the consumer side, that’s been a total success.

I’ll give you a very personal story from my life that’s an example of  it. In the book, you’ll read about the surgical simulator, which dates back to the ‘80s. I did that with a few people, Dr. Joe Rosen, for example, who is a Stanford Med guy. In the last couple of years, my wife has been battling cancer and she had a bunch of operations. She’s post-cancer now, but one of her surgeons for the most difficult operation was a student of a student of Joe Rosen’s, and he used a procedure that was designed in the surgical simulator that evolved from the original one and trained in one. Since I’ve worked more on that side of things than the consumer end, I don’t have any doubts about whether or not VR is going to happen. For me, it’s been great. I think this is an established technology. I’m really proud of what we’ve done. But I’ve also played around with the consumer side a lot, starting with the Power Glove which a lot of people still have a bit of fondness for, which charms me.

Jaron Lanier

By the way, I was supposed to be interviewed by Leonard Lopate on WNYC in the morning, and I just got this email that he’s been fired for sexual misconduct, 'so we’re finding another host to interview you.' The same thing happened to my interview with Charlie Rose last week. It’s hard to promote a book right now because all of the people who are supposed to interview me keep getting outed for sexual misconduct.

Tweedie: Yep, it's been non-stop — our Entertainment team has been quite busy for the past month or two. So on the consumer side of the VR market, Sony's PlayStation VR headset is leading the pack when it comes to sales, and there seems to be genuine interest in the gaming side of VR and augmented reality (AR) — what are your thoughts on how those markets will evolve? 

Lanier: Sony has found some success with headsets, there has been some pretty good adoption of the phone and holder for things like news clips — The New York Times has been a pioneer in that. And Pokémon Go needs to be mentioned. Pokémon Go was super crude, barely over the line of usability, and yet there it was and it engaged a lot of people and that gave us a taste of mixed reality in a wide area. People like it, it makes sense. I feel like we’re doing fine, actually. For me, this is what a new market looks like. I don’t know what people are expecting. Do you know what it is? Everybody is still in this weird post-Steve Jobs period where they want that big thrill of the iPhone intro, and those things just don’t happen a lot.

Tweedie: You've been involved with Microsoft's HoloLens headset, so I have to ask you about one of its competitors, Magic Leap, which one investor compared to the first time he experienced multi-touch technology, a key selling point of the iPhone. What's your opinion on Magic Leap?

Lanier: I want nothing more than for Magic Leap to ship and thrive. I think it would be really good for everybody, and I really hope they do, I think it’d be great. I don’t know if they will, but I hope they do. You can’t just have a single vendor in something. You can have a most innovative vendor, you can have a vendor who's ahead, but you can’t just have a single vendor. That’s not a market.

Microsoft HoloLens

Tweedie: You've been at Microsoft for around a decade, is that right? How'd that come about?

Lanier: Well, it depends on how you count it. Never in a million years would have expected that I would have worked at Microsoft Labs, but it’s been a brilliant, amazing thing which I wouldn’t really have expected. I was a critic of Microsoft in the ‘90s, and I’ve always a bit of a radical purist, and Microsoft was the punching bag for people like me for a long time.

Jaron Lanier

How I ended up at Microsoft is really simple. Sergey [Brin] told me, “We don’t want people writing all of these controversial essays,” because I’ve been writing tech criticism for a long time. I’ve been worried about tech turning us into evil zombies for a long time, and Sergey said, “Well, Google people can’t be doing that.” And I was like, really? And then I was talking to Bill Gates and he said, “You can’t possibly say anything else bad about us that you haven’t said. We don’t care. Why don’t you come look at our labs? They’re really cool.” And I thought, well that sounds great. So I went and looked, and I was like, yeah, this is actually really great.

Zoe Bernard: I wanted to ask you about Silicon Valley. You’re living very close to there, in Berkeley. What is your perception of how the culture has changed?

Lanier: Well, the tech world has such incredible stories of quick money, quick power, and quick status, that I think it’s made people a little drunk and crazy, and also a little shallow, and that makes me a little sad. The amazing thing about the old days was that you could have some people in a room from early Silicon Valley, and one of them might be a billionaire, one of them might be living out of a car, and what it was all about was how much you could do. We respected technical ability over money, and I think that was a really healthy and interesting culture. And now it’s gone. Sure, broadly speaking, in the whole world, hacker culture still exists, but Silicon Valley and San Francisco have both become so intense. For one thing, you can’t afford to live there unless you’re doing really well, so a lot of people have been priced out. And I’m not down on anybody, I mean, I live there. But if you’re asking me how it’s changed, that’s how. There’s this thing that happened which is that there’s more diversity of ethnicity and background perhaps, but less diversity of cognitive style. If you have a certain kind of nerdy, quantitative problem-solving oriented cognitive style, that will get you more friends, and that will get you along better than if you have a more contemplative, aesthetic center. 

Bernard: You mentioned the lack of cognitive diversity in Silicon Valley. Do you think that this lack of cognitive diversity plays an influence in the technologies being created there?

Lanier: Sometimes I do. A lot of the tools we have tend to be more usable by people who are similar to the engineers who made the tools. It’s not always true, but in general it’s a principle that seems to take hold. Engineers are designing things that work better for people who are similar to the engineers, and that turns into a social effect that favors and disfavors certain classes of people.

Tweedie: It seems like that would just lead to more isolated communities and some people thinking they're smarter than others.

Jaron Lanier

Lanier: This is an ongoing conversation and argument that goes back for years. If I’m in an environment with a bunch of technical men, and I say, you know, we’re doing this thing that excludes people, they’ll say, “What are you complaining about? At least you’re on the good side of it.” And my response is, “Actually, from a purely selfish point of view, it does hurt me because I’m in this weird echo chamber where I’m being told ‘you're a hacker, you’re a technical man, you’re a white man’” and it becomes this ongoing reinforcement where you’re that thing — but the thing is this total artificial bullshit classification that just happens to rise from the resonance of this stupid tool. So while I’m on the beneficial side of it, in some ways, it forces me into this box. I think this kind of thinking hurts everyone, even the people who appear to be the beneficiaries of it. They’re forced into a place where they can’t reach their full potential.

Bernard: In your first book, 'You Are Not a Gadget,' you wrote about how technology is doing us a disservice, and that computers are not yet worthy to represent people. You wrote that almost ten years ago — have your views changed at all?

Lanier: I like to think that my views are always changing. I’m always interested in re-examining my stuff and seeing if I can find some way to make it better. But that general principle — that we’re not treating people well enough with digital systems — still bothers me. I do still think that is very true.

Bernard: What do you think about programmers using consciously addicting techniques to keep people hooked to their products?

Lanier: This was an open secret for a long time. Maureen Dowd published an interview with me in The New York Times that talked a little bit about it, and then the next day, Sean Parker, who I used to know, admitted to it and said, “Yeah, we did that.”

There’s a long and interesting history that goes back to the 19th century, with the science of Behaviorism that arose to study living things as though they were machines. Behaviorists had this feeling that I think might be a little like this godlike feeling that overcomes some hackers these days, where they feel totally godlike as though they have the keys to everything and can control people.

So if you zoom ahead to the 1950s or so, Norbert Wiener, one of the founders of computer science after Alan Turing and Jon van Neumann, wrote a book called 'The Human Use of Human Beings,' and in that book he points out that a computer (which at that time was a very new and exotic device that only existed in a few laboratories) could take the role of the human researcher in one of these experiments. So, if you had a computer that was reading information about what a person did and then providing stimulus, you could condition that person and change their behavior in a predictable way. He was saying that computers could turn out to have incredible social consequences. There’s an astonishing passage at the end of 'The Human Use of Human Beings' in which he says, “The thing about this book is that this hypothetical might seem scary, but in order for it to happen, there’d have to be some sort of global computing capacity with wireless links to every single person on earth who keeps some kind of device on their person all the time and obviously this is impossible.”

Looking at phone

The behaviorists got pretty far in understanding the kinds of algorithms that can change people. They found that noisy feedback works better than consistent feedback. That means that if you’re pressing the button to get your treat, and once in a while it doesn’t work, it actually engages your mind even more —  it makes you more obsessive, whether you’re a rat, or a dog, or a person. And the reason why is that the brain wants to understand the world and if there’s this thing that isn't quite working, your brain just keeps on trying to get it and wants to figure out how to build a better model. So you can really grab the brain that way.

The results from the behaviorists’ research transformed the gambling industry and made it what it is today — an algorithmic, person-manipulation industry. People are driven by emotions and some emotions are cheaper, more efficient ways to engage us. Negative emotions get you first. Fear, anger, resentment, jealousy, insecurity, grab you, and it’s easier to renew them and keep you grabbed than positive things like nurturing, adoration, appreciation of beauty. Those emotions are softer. They’re easier to kill and harder to nurture in an audience. There’s an unfortunate imbalance. So, according to Sean Parker, these types of programming were put in intentionally [in Facebook’s design]. I wasn’t in the middle of Facebook, but my memory of those days — how people were talking and what was going on — is a little different. I don’t think that it’s so much that people were evil geniuses saying, “Let’s take the worst of behaviorism and manipulate the entire world.” I think what they were doing was: let’s maximize the efficiencies of our algorithms for a purpose.

Tweedie: That purpose being engagement?

Lanier: Well, this is maybe the greatest tragedy in the history of computing, and it goes like this: there was a well-intentioned, sweet movement in the ‘80s to try to make everything online free. And it started with free software and then it was free music, free news, and other free services. But, at the same time, it's not like people were clamoring for the government to do it or some sort of socialist solution. If you say, well, we want to have entrepreneurship and capitalism, but we also want it to be free, those two things are somewhat in conflict, and there’s only one way to bridge that gap, and it’s through the advertising model. And advertising became the model of online information, which is kind of crazy. But here’s the problem: if you start out with advertising, if you start out by saying what I’m going to do is place an ad for a car or whatever, gradually, not because of any evil plan — just because they’re trying to make their algorithms work as well as possible and maximize their shareholders value and because computers are getting faster and faster and more effective algorithms — what starts out as advertising morphs into behavior modification. It morphs into the very thing Weiner was warning about.

Jaron Lanier

A second issue is that people who participate in a system of this time, since everything is free since it’s all being monetized, what reward can you get? Ultimately, this system creates assholes, because if being an asshole gets you attention, that’s exactly what you’re going to do. Because there’s a bias for negative emotions to work better in engagement, because the attention economy brings out the asshole in a lot of other people, the people who want to disrupt and destroy get a lot more efficiency for their spend than the people who might be trying to build up and preserve and improve.

There used to be this sense of an arc in history in which, if there was something that seemed like an injustice in society and people worked to improve it, there might be some backlash, but gradually it would improve. Now, what happens is that the backlash is greater than the original thing, and in some ways worse. For instance, the Arab Spring, driven by social media, turned into networks of terrorists. A few women trying to improve their place in the gaming world turned into Gamergate, which, in turn, became a prototype for the alt-right. Black Lives Matter is followed by a rise of white supremacy and neo-fascism which would have been inconceivable until recently.

Now, I’m just waiting to see what happens with the #MeToo movement, because the same thing always happens with these moments that are social media-centric. That good energy becomes fuel for a system that is routed to annoy another group of people who are introduced to each other, and then get riled up and that becomes even more powerful, because the system inherently supports the negative people more than the positive people.

My prediction, which I hate and which I’m sorry for, is that the #MeToo backlash will be far more powerful than the #MeToo movement. And that’s because the backlash from all these other movements was more powerful than the original. And I’d say that social media driven by the so-called advertising media is fundamentally incapable of doing anything positive for society as it stands.

Bernard: What do you think that #MeToo backlash would look like?

Lanier: It’s unpredictable. It will be algorithmic. As long as it’s really annoyed and mean-spirited, that’s the thing that will count, because that would be the most engaging thing. We can’t predict what it will be, but it will be mean, and it might take on a surprising character, but it will happen. People don’t understand that #MeToo will inevitably lead to a negative outcome because of the way that things are figured structurally right now. I find that it takes about a year for it to cycle through the system, for the good stuff to turn into the bad stuff.

jaron lanier

I try to draw a certain line, and it’s a difficult line to draw. I don’t want to become a judgmental, middle-aged person. If we can identify a particular process that’s doing damage and draw a circle around it and say, “This is it,” then I think we have to talk about it. I don’t think it’s possible for us to do better unless we change the incentive structure. Right now, of the big five tech companies, three of them don’t rely on that [advertising] model. Whatever you think of Apple, Amazon, and Microsoft, they’re selling goods and services primarily. In terms of big companies, it’s really Google and Facebook. It’s not even the whole tech industry, it’s really kind of narrow. I’m totally convinced if companies like Google and Facebook can shift to a more monetized economy, then things will get better, simply because people participating will have some incentive to add to the attention economy, where they at least have something else to do, rather than just be assholes.

Bernard: So the model you’re presenting is that you would like to see users get paid for the data they contribute rather than have Facebook and Google give that money to advertisers?

Lanier: Yeah. The way I imagine it is that you’d pay a small fee to use Facebook. We pay for all kinds of things we like, so don’t freak out. Netflix proves that this can work. Look at what happens when people pay their Netflix bills, we suddenly have peak TV. People say “I’ll pay for this,” and suddenly better stuff is there. I really reject this zero-sum idea where we should volunteer because there’s no way we can be better anyway. So Facebook would charge a fee. I’m sympathetic to a lot of people who say that young people or people in poverty couldn't afford it. And sure, make some accommodation for that. But in general, people will pay a small fee, but then they’d also have a chance to earn money. If someone is a super-contributor to a social network, if they’re really adding a lot of content, they should get paid for it. Like, what Google is doing now is communist central control. They’re saying that certain YouTube personalities should be paid because they like them, but not others. That’s ridiculous. It should be a market. It should be a gradual curve, it shouldn’t be some arbitrary rule where everything is free except for this designated group. It should be universal. I think it will make things better because it will give people a different game to play in addition to seeking attention.

Sometimes people come to me and say, “You don’t make any sense,” because on the one hand I’m a tech critic and I say that tech is turning us into zombies and destroying the world. But, on the other hand, I love virtual reality and I'm promoting it. But there’s no contradiction — it’s all true at once. There’s zero contradiction. We can afford to be honest. If we’re going to look at the good side of tech, it's good enough that it’s not going to kill us to also look at the bad side and be fearful of it. I don’t think there is any inconsistency in looking at the whole spectrum.

Jaron Lanier

Bernard: You have an eleven-year-old daughter. Do you monitor her interactions with technology?

Lanier: I’ve had extraordinary good fortune in that I was the one that made my daughter get a smartphone. I’m in this wonderful position where the problem took care of itself. I don’t have a problem with her being too into technology. Sometimes you get lucky. There does seem to be a correlation, though. The more a parent is involved in the technology industry, the more cautious they seem to be about their kids’ interactions with it. A lot of parents in Silicon Valley purposefully seek out anti-tech environments for their kids, like Waldorf Schools. I hope we won’t have to go there.

Bernard: I’m interested in what you think the future of technology looks like. From reading your new book, I got the sense that you’re slightly anxious, but that you also have a sense of optimism about the future. What do you think is in store?

Lanier: I’m optimistic for many reasons, one reason is that it’s dysfunctional not to be. If you look at history, people have been through horrible things in the past, including very confusing things. The world has seen horrifying mass phenomenon. Somehow, we seem to be able to find our way through, and I do believe in an arc of history. I believe that as technology improves, it gives us more opportunities to learn to be decent. I think in the big picture, I am optimistic.

Bernard: Do you think that there’s a problem with people becoming progressively addicted to technology or growing too reliant on it?

Lanier: It’s all in the details. Using a technology a lot is not necessarily a bad thing, people use books a lot too. The mere use of it is not bad. When we talk about addiction, we should make it specific, and in the case of behavioral addiction, it’s really a noisy feedback loop. I do believe that these noisy feedback loops are dysfunctional, and they should not exist.

Bernard: There’s also been so many differing perspectives regarding artificial intelligence (AI). Some people, like Elon Musk, think that we should be more skeptical because it could end up controlling us, while others, like Mark Zuckerberg, seem to think it’s less insidious. Where do you fall in the spectrum of that debate?

Lanier: I have a position that is both unusual and yet entirely correct. From my perspective, there isn’t any AI. AI is just computer engineering that we do. If you take any number of different algorithms and say, “Oh, this isn’t just some program that I’m engineering to do something, this is a person, it’s a separate entity,” it’s a story you’re telling. That fantasy really attracts a lot of people. And then you call it AI. As soon as you do that, it changes the story, it’s like you’re creating life. It’s like you’re God or something. I think it makes you a worse engineer, because if you’re saying that you’re creating this being, you have to defer to that being. You have to respect it, instead of treating it as a tool that you want to make as good as possible on your terms. The actual work of AI, the math and the actuators and sensors in robots, that stuff fascinates me, and I’ve contributed to it. I’m really interested in that stuff. There’s nothing wrong with that. It’s the mythology that’s creepy.

Tweedie: In your book, you describe AI as a wrapping paper that we apply to the things we build.

Lanier: Yeah, you could say that. AI is a fantasy that you apply to things. The issue with AI is that we’re giving these artifacts we build so much respect that we’re not taking responsibility for them and designing them as well as possible.

Jaron Lanier

The origin of this idea is with Alan Turing, and understanding Turing’s life is important to understanding that idea about AI because he came up with this notion of AI and the Turing test in the final weeks of his life, just before he killed himself while he was undergoing torture for his sexual identity. I don’t want to presume to know what was going on in Turing’s head, but it seems to me that if there’s this person who is being forced by the state to take these hormones that are essentially a form of torture, he’s probably already contemplating suicide or knows that he’ll commit suicide. And then he publishes this thing about how maybe computers and people are the same and puts it in the form of this Victorian parlor game. You look at it, and it's a psycho-sexual drama, it's a statement, a plea for help, a form of escape or a dream of a world where sexuality doesn’t matter so much, where you can just be.

There are many ways to interpret it, but it’s clearly not just a straightforward, technical statement. For Turing, my sense is that his theory was a form of anguish. For other people, maybe it’s more like religion. If you change the words, you have the Catholic church again. The singularity is the rapture, you’re supposed to be a true believer, and if you’re not, you’re going to miss the boat and so on.

I think our responsibility as engineers is to engineer as well as possible, and to engineer as well as possible, you have to treat the thing you’re engineering as a product. You can’t respect it in a deified way. It goes in the reverse. We’ve been talking about the behaviorist approach to people, and manipulating people with addictive loops as we currently do with online systems. In this case, you’re treating people as objects. It’s the flipside of treating machines as people, as AI does. They go together. Both of them are mistakes.

Jaron Lanier's latest book, "Dawn of the New Everything," is on sale now.

Join the conversation about this story »

NOW WATCH: How Area 51 became the center of alien conspiracy theories

This $15 gift is perfect for gamers — especially if you can’t find an SNES Classic

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With Nintendo's $80 Super NES Classic Edition in such short supply, there are going to be a lot of disappointed people this holiday season. You could turn to eBay, where the adorable, miniature Super Nintendo Entertainment System is selling for over $200 apiece.

Super NES Classic Edition (eBay)

But you shouldn't do that. Who wants to pay nearly triple the price for a holiday gift? No one!

And that's exactly why you should turn to an excellent alternative this holiday: Pixel Pals.

Pixel Pals

These little light-up displays are inexpensive, impressive-looking, and tremendously easy to use. Best of all, they're the perfect salve for "I couldn't get a Super NES Classic anywhere. I'm sorry!" 

Don't think they look cool in the box? Take a closer look:

SEE ALSO: Nintendo has already sold 10 million Switch consoles just 9 months after launch

I got one of these guys in the mail from PDP, the company that makes them. Here's a lit up 8-bit Super Mario, from "Super Mario Bros. 3" for the original NES:



Even though I was sent this one, I'd happily buy more. At just $14.99, it's a steal. These are officially licensed, to boot.



It operates with a simple on/off switch on the back. There's even a sweet "Super Mario Bros. 3" sticker!



See the rest of the story at Business Insider

Peter Jackson: Ashley Judd and Mira Sorvino were not cast in 'Lord of the Rings' after Weinstein 'smear'

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Peter Jackson Jonathan Leibson Getty

  • Peter Jackson said he did not cast Ashley Judd and Mira Sorvino in "Lord of the Rings" on the advice of Harvey Weinstein.
  • The director compared Weinstein and his brother, Bob, to "second-rate Mafia bullies."
  • Weinstein said he had nothing to do with the casting of "Lord of the Rings."
  •  Sorvino said Weinstein  "derailed my career."


Peter Jackson did not cast Ashley Judd and Mira Sorvino in "Lord of the Rings" after a "smear" campaign by Harvey Weinstein.

Jackson said he considered the actresses, who have both accused movie mogul Weinstein of sexual misconduct, for roles in his JRR Tolkien mega-franchise, but passed them over on the advice of Miramax.

The Oscar-winning director told stuff.co.nz:

"I recall Miramax telling us they were a nightmare to work with and we should avoid them at all costs. This was probably in 1998.

"At the time, we had no reason to question what these guys were telling us - but in hindsight, I realise that this was very likely the Miramax smear campaign in full swing.

"I now suspect we were fed false information about both of these talented women - and as a direct result their names were removed from our casting list."

Jackson and wife Fran Walsh developed the films with Weinstein's Miramax in the 1990s but production was eventually moved to New Line Cinema ahead of their launch in 2001.

Jackson described the Weinstein brothers as "second-rate Mafia bullies," adding: "They weren't the type of guys I wanted to work with — so I haven't."

harvey weinstein 2

In a statement sent to a number of publications, a spokesman for Weinstein denied that he and his brother had any sway over the casting of "Lord of the Rings."

"Mr Weinstein has nothing but the utmost respect for Peter Jackson. However, as Mr Jackson will probably remember, because Disney would not finance the 'Lord of the Rings,' Miramax lost the project and all casting was done by New Line," he said.

Jackson's own comments to stuff.co.nz echoed this. "Although his name had to be on the 'Lord of the Rings' credits for contractual reasons, he was not involved in the movies we ended up making," the director said.

Both Judd and Sorvino thanked Jackson for speaking out against Weinstein. The latter explained that she cried because she realised that the producer "derailed my career."

Judd tweeted:

SEE ALSO: Ashley Judd has accused Harvey Weinstein of sexual harassment as part of a bombshell NYT report

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NOW WATCH: Behind the scenes with Shepard Smith — the Fox News star who's not afraid to take on Trump

How Levar Burton is carrying on the 'Reading Rainbow' legacy in the smartphone era, and moving beyond it

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  • Levar Burton, of "Roots" and "Reading Rainbow" fame, remains a champion of children's literacy.
  • He has a new startup and podcast, both of which are dedicated to carrying on the torch for literacy in a new age of technology.

 

Known for his acting roles on "Roots" and "Star Trek: The Next Generation," Levar Burton has also been a champion of children's literacy for decades.

Burton hosted the influential PBS series "Reading Rainbow" from 1983 until 2006. In the following years, he has become an entrepreneur devoted to carrying on and expanding on the "Reading Rainbow" legacy.

Burton now has a startup, Levar Burton Kids, that promotes children's literacy through new applications and technology. He also has a podcast, Levar Burton Reads, in which he reads selected short stories aimed at adult readers. 

Business Insider spoke to Burton about the legacy of "Roots" and "Reading Rainbow," his latest literary ventures, and the evolution of storytelling and literature in today's fast-paced age of technology. 

John Lynch: Mr. Burton, you worked on “Reading Rainbow” for two and a half decades. How did those years of experience inform your latest ventures in promoting literacy?

Levar Burton: With my latest ventures, one of them being Levar Burton Kids, I’m able to do the same work that I’ve done for the past, as you say, two and a half decades. But being out of the “Reading Rainbow” business, having surrendered the “Reading Rainbow” brand back to WNED, the Buffalo public television station that owns the mark, I feel like I have an opportunity now to expand my conversation with my audience to include social justice, through the “Roots” aspects of my personal brand, and science and STEM, through the “Star Trek” aspect of my personal brand. Not leaving literacy behind, but as I say, expanding the breadth of my conversation with my audience of children. Also, through Levar Burton Reads, I’ve taken advantage of the opportunity to create a storytelling experience that I share with an audience of adults now, who grew up on “Reading Rainbow.” We were successful in getting a couple of generations of kids interested in, in fact, hooked on reading, and this was an opportunity for me to continue that relationship around storytelling with them, through this burgeoning, emerging phenomenon of the podcast.

Lynch: Your startup, Levar Burton Kids, recently won $180,000 in funding at the NYC WeWorks Creator Awards. What will that money go toward, and what’s the mission behind the company?

Burton: Well, we’ll use the money to really scale that effort. When we created the “Reading Rainbow” app and released it in the summer of 2012, the intention was to sort of reinvent the “Reading Rainbow” brand for a new generation of digital consumers. A Kickstarter enabled us to take that app and expand it across all existing platforms, not just iTunes, but to get to the web, and to Android devices, and develop a product that was able to be used specifically by teachers in the classroom. The idea being, take that model of literature and the video field trips that were the core of the “Reading Rainbow” offering, when it was a TV show, and provide it in a digital realm to attempt to do the same thing we did with the technology of television in the 80s. Now that I’ve made the decision to walk away from the “Reading Rainbow” brand, the app and the attendant versions of it are re-branded as Skybrary, offered by Levar Burton Kids. My mission is the same. This prize money from the Creator Awards gives us the opportunity to retool the product, which will give us an opportunity to make it even more ubiquitous and available to a broader, wider number of kids.

Lynch: What drew you to podcasting, in particular, with Levar Burton Reads?

Burton: It really grew out of having made a conscious decision to become an entrepreneur and sink the lion’s share of my energies, over a period of five or six years, into the business of reinventing “Reading Rainbow,” and finding that I really needed a purely creative outlet that being an entrepreneur did not afford me. And in looking at the podcasting world, I saw, “Wow, I could do this with no barrier to entry” — a phrase that I learned in the world of entrepreneurial startups [laughs]. That it was me and a microphone and a producer and a pack of stories that I had a burning desire to read aloud. It was so simple, and yet so fulfilling on a creative level. It was a deep-seated need of mine that was met with an effortless opportunity to get involved.

Lynch: To shift to TV for a minute, following your iconic role in the original “Roots” of the ‘70s, you were an executive producer on the remake of the series last year. What was the impetus behind reviving it in 2016?

Burton: It really was about, at the end of the day, for me, keeping what I believe to be a very important story — it’s the story of this nation, after all, and the foundation of the creation of this nation, and the social dynamic that underpins everything that goes on in America. It was an opportunity to keep that story alive in culture. The original “Roots” is now 40 years old, and it’s unreasonable to expect that the current generation, based on their preferences and proclivities, and the way they consume content, it was unrealistic to expect for them to go and seek out the original “Roots,” to absorb that story and have it be a part of their worldview the way previous generations did because they were automatically exposed to it. So it became clear that if we wanted to keep this very important American story alive in culture, and I do, it was really important to retell that story in a storytelling style that this current generation would embrace.

levar burtonLynch: You were also on “Star Trek: The Next Generation,” which was itself a reboot. Reboots have always been a thing, but they’re increasingly common in film and TV. Outside of “Roots” and “Star Trek,” do you see that as a good thing for the industry?

Burton: It can be, but it is not always. Interestingly enough, it was my experience with the success of “Star Trek: The Next Generation” that gave me even a modicum of confidence in believing that I could successfully reboot “Reading Rainbow” in the digital realm, for a modern audience. And then it was the success of my experience in both the “Star Trek” franchise and the “Reading Rainbow” franchise that led me to believe, “You know what, we might be able to hit the mark a third time with ‘Roots.’” It’s a crapshoot. There are no guarantees, but my career has informed me that when it’s done with the right intention and the right passion, it’s possible. Every time you get up to bat, you have an opportunity to either single, double, triple, home run, walk, or strike out.

Lynch: You have over 2 million Twitter followers, and you’re a beacon of positivity and humor on the site. What’s your key to staying positive when so much of Twitter is just a cesspool of hate?

Burton: [laughs] What a great question. I don’t have any choice, you know? As Jessica Rabbit would have said, “I’m just drawn this way,” man. It’s how I wake up in the morning. I am an eternal optimist, and I have come to understand my conscience in life, my place in the world. And in large measure, that’s as a cheerleader for a humanity, as an encourager of, to be cliché for a moment, to boldly go, to pick up a book and take a look, to expand our horizons beyond the color of our skin and find our commonality in the human experience. That’s why I’m here, and I’m lucky enough to have had that mission supported by the universe. And I’m really grateful. I don’t wonder what my purpose is in life. I’m lucky to have discovered it very early on, and I’m just determined to do as much as I can while I’m here. And that’s my story, and I’m sticking to it.

Lynch: With your Skybrary app and podcast, do digital forms like these make you optimistic that literature can survive, even in this age of technology and its fast pace?

Burton: Oh, absolutely. Without question. Storytelling is the root base of literature. Literature only came about because of our need to share stories. We began around the fire, right? And then we started drawing pictures on the walls of the cave, and then those pictures evolved into a written language. And then we invented paper and we started sharing that information and those stories, in ways that enabled us to perpetuate the storytelling in non-local ways. And then we invented the printing press, and that exploded storytelling and information dissemination. And then radio and television and motion pictures all came rapidly on the heels of one another. Television was the simply the technology that we used in the ‘80s to get kids hooked on storytelling, literature, the written word. The need to share stories is the common element throughout the course of the evolution of humanity. The technology will always continue to change, morph, grow, evolve, but it’s the storytelling that’s essential to the nature of our being.

Lynch: A few last questions about reading. What was the last book you read that you were eager to recommend to people?

Burton: I guess that would have to be a “A People’s History of the United States” by Howard Zinn. That one I went out of my way to read. I sought that book out because of the recommendations of others, who said, “You haven’t read Zinn? Brother. You’ve got to get a hold of that sh-t.” And so I did, and they were right. It really expanded my point of view, and reaffirmed and reinforced some ideas that had been swirling around in my consciousness for a long time.

Lynch: There are a lot of people, especially working adults, who avoid reading altogether and are sort of stubborn about it. What advice would you give non-reading adults to inspire them to read?

Burton: I would encourage them to A) not to feel guilty about not reading. And in the next breath, I would want to make sure that they consider that even without being a reader, it is possible through audio literature to continue to engage in the very important, developmental activity of storytelling, exposing oneself to different points of view, different ideas, information. Even for pure pleasure, the idea of engaging one’s mind and surrendering oneself to an experience created by a creator, a writer, a storyteller, has invaluable benefits to our continuing growth and evolution as individuals.

SEE ALSO: The best TV show of every year since 2000, according to critics

Join the conversation about this story »

NOW WATCH: It's been 25 years since the band Hanson was formed — here's what they're up to now

Why you need to see 'Lady Bird' — the best-reviewed movie of all time on Rotten Tomatoes

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  • Writer-director Greta Gerwig crafts an authentic high school movie with "Lady Bird."
  • The movie isn't just becoming a box-office hit, but is the best-reviewed movie of all time on Rotten Tomatoes.
  • A big reason for that is the performance by Saoirse Ronan, who delivers a role that is one of the best ever in the coming-of-age genre.


Greta Gerwig has gone from one of indie film’s most sought-after actresses to now being one of its rising directors.

Her first solo directing effort, “Lady Bird,” has become the end-of-year FOMO movie thanks to its award season hopes (it received four Golden Globe nominations on Monday), and status as the best-reviewed movie ever on Rotten Tomatoes (at the time of writing it had an astounding 195 "fresh" reviews).

What has wowed audiences about “Lady Bird” (currently playing in theaters) is its authentic feel focused on coming-of-age and family. These are two things that almost any audience member can relate to.

Gerwig, who in the early 2000s became the face of the mumblecore genre with her captivating acting talent, also got her own ideas to the screen through writing (a highlight was Noah Baumbach’s 2012 film “Frances Ha”), and codirecting “Nights and Weekends” in 2008 with Joe Swanberg.

“Lady Bird” is a culmination of the work she’s absorbed in front of and behind the camera throughout her career.

A semi-autobiographical look at her youth growing up in Sacramento, California, the movie revolves around the senior year of Christine “Lady Bird” McPherson (beautifully acted by Saoirse Ronan). Literally living on the wrong side of the tracks, Lady Bird is seeking more than what her current circumstances offer. She wants to live in a better part of town, she wants to lose her virginity to a hot guy, and she wants to go to a college on the East Coast. The latter is the hardest because of her family’s financial situation. Already struggling to pay the bills, things get worse when her dad (Tracy Letts) gets laid off. This puts even more pressure on her mom (Laurie Metcalf) to do it all.

ladybird2a24Lady Bird is basically Andie in “Pretty in Pink,” but she’s got a lot more guts and doesn’t give a damn what people think about her.

The center of Gerwig’s story is the relationship between Lady Bird and her mother, which is constantly hot and cold. Conversations with them can jump from happiness to cutthroat hatred in the blink of an eye (or vice versa). It's watching this emotional relationship that leads to the movie's powerful ending.

And along with drama, Gerwig also gives us a lot of comedy.

The movie’s 94-minute running time flies by because Gerwig’s pacing is at lightspeed. With jump cuts and brief scenes, Gerwig plows through the story, and with a lot of the fat trimmed, when a meaty scene comes up, it pays off because there is importance to it. These scenes can come in the form of a mother-daughter (or father) chat; Lady Bird navigating her relationship with best friend, Julie (Beanie Feldstein); or exploring love or lack thereof with a boyfriend (Lucas Heges followed by Timothée Chalamet).

And set in 2002-2003, Gerwig pulls off the nostalgia perfectly by including some great needle drops, including Alanis Morissette’s “Hand in My Pocket,” Bone Thugs N Harmony’s “Crossroads,” Justin Timberlake’s “Cry My A River,” and Dave Matthews Band's “Crash Into Me.”

Though Gerwig’s talents as a writer-director shine, it’s the casting of Ronan in the lead that makes “Lady Bird” such a memorable work. The layers she gives the character will make the performance go down as one of the best high school characters ever.

The movie is one of the best teen movies I’ve seen in a long time, you should really find time to see it.

SEE ALSO: MEET THE YOUTUBE MILLIONAIRES: These are the 10 highest-paid YouTube stars of 2017

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NOW WATCH: Sean Astin describes one thing you probably never knew about 'The Goonies'

The 14 best new TV shows of 2017, ranked

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A lot of new TV shows premiered in 2017, and plenty of them are worth your time. 

Women dominated new shows this year, with several impactful female-driven stories with women of all ages and backgrounds — from Hulu's Emmy-winning "The Handmaid's Tale," to Freeform's "The Bold Type," and USA's "The Sinner."

Also ruling the list was Netflix, which had some of the best new shows of the year, including "Big Mouth" and "Mindhunter." 

Here are the best new TV shows of 2017:

SEE ALSO: The worst new TV shows of 2017, ranked from bad to completely unwatchable

14. "The Sinner" — USA

"The Sinner" masterfully unfolds a mystery that is nearly impossible to figure out. Jessica Biel (who is great here) suddenly stabs and kills a man on the beach, and secrets about her past are revealed in every episode. These secrets will leave you constantly changing your mind. The series was made for binge-watching, and has a solid ending.



13. "Feud: Bette and Joan" — FX

"Feud," from Ryan Murphy ("Glee," "American Horror Story") was quite the opposite of what audiences and critics expected. Instead of focusing the feud between Joan Crawford and Bette Davis, the show was a topical and well-timed commentary on the treatment and manipulation of women in Hollywood. Jessica Lange is a triumph as an aging Joan Crawford, and Susan Sarandon is the perfect choice for an older Bette Davis. 



12. "Alias Grace" — Netflix

"Alias Grace" digs deep into how gender, social status, and mental illness were treated in the past, and how it can affect people to this day. It's a well done series with a story whose themes reflect conversations that are happening in our culture today.



See the rest of the story at Business Insider

'Star Wars: The Last Jedi' has the 2nd-largest opening weekend box office ever with $220 million (DIS)

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The Last Jedi Lucasfilm Disney

  • "The Last Jedi" earned an estimated $220 million this weekend, the second-best domestic opening weekend of all time, only trailing 2015's "The Force Awakens."
  • "Last Jedi" has the biggest opening of any 2017 release.


As anticipated, the latest "Star Wars" movie, "The Last Jedi," did not disappoint at the box office. The only question was: How much it would earn?

Weekend estimates have the movie taking in $220 million, according to Exhibitor Relations.

That's the second-best opening weekend of all time at the domestic box office. The only movie that's done better is, you guessed it, "Star Wars: The Force Awakens" in 2015 with an incredible $247.9 million opening.

As Disney/Lucasfilm had hoped, the performance by "Last Jedi" is by far the best of any movie at the box office in 2017 (beating out previous best opening weekend of the year, Disney's live-action "Beauty and the Beast" of $174.7 million). And its figures only trail "Force Awakens" in the all-time records.

The movie took in an estimated $45 million in its Thursday night previews, the second best all-time ("Force Awakens" earned $57 million). That added to the movie's Friday take of $104.7 million ("Force Awakens" took in $119 million). Then on Saturday, "Last Jedi" earned a strong $56.7 million— the seventh-best all time. In third place all-time on Saturdays: "Force Awakens" with $68.2 million.

These are astronomical figures that Disney seems to do in its sleep with its releases, especially the latest "Star Wars" trilogy titles.

Last Jedi 2 DisneyBut by putting "The Last Jedi" on a record-breaking 4,232 screens ("Force Awakens" was on 4,134), Disney was aware that it was bringing a different blockbuster into the world at a different time.

"The Force Awakens" broke box office records across the board because it was the first "Star Wars" release in a decade.

The movie wasn't just good; it touched on elements of George Lucas' original trilogy that attracted the die hard and casual fans alike. Now with a "Star Wars" movie coming out yearly, the anticipation for "Last Jedi" (though still high) wasn't at the ultimate peak that we saw with "Force Awakens."

And Rian Johnson's movie clocked in at two-and-a-half hours, the longest "Star Wars" movie ever released. Though movie theaters added 1 a.m. and 2 a.m. showings, there are still only so many times a theater can play a movie in one day at that length.

However, theaters now have more IMAX, RealD 3D, and 4D theaters than when "Force Awakens" opened two years ago, and tickets for those showings are at a premium price. So that made up a little for the long run time.

The next test for "Last Jedi" is how it plays in its second weekend. Repeat showings for "Force Awakens" fueled it to a $149.2 million earning in its second weekend (only a 39.8% drop from its first weekend).

With only "Pitch Perfect 3" as the only major competition next weekend (Universal is opening it on over 3,000 screens), it should win the weekend. But can "The Last Jedi" continue to keep pace with its predecessor?

SEE ALSO: 'The Last Jedi' is a super-sized 'Star Wars' movie that will make you laugh and cry

DON'T MISS: The 21 biggest questions we have after seeing 'Star Wars: The Last Jedi'

Join the conversation about this story »

NOW WATCH: Meet Scott Rogowsky — the host of the hot new mobile game show HQ Trivia

Democrats and Republicans have both had hypocritical responses to the outpouring of sexual misconduct allegations

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Donald Trump

  • While Democrats and Republicans have diverged in their response to allegations of sexual misconduct, leaders on both sides of the aisle have delivered inconsistent messages.
  • Politicians are being forced to clarify their positions on the issue as a national spotlight on sexual harassment and abuse is shone on Capitol Hill. 


Amid an intensifying national conversation about sexual misconduct, political leaders and media commentators are speaking out about the issue and, in some cases, delivering inconsistent messages.

On the left, some top lawmakers, including House Minority Leader Nancy Pelosi, have been hesitant to condemn political allies accused of sexual misconduct, while other liberal leaders, including Sen. Kirsten Gillibrand, have made advocacy for survivors of sexual assault central to their policy agenda.

Political leaders on the right, most prominently President Donald Trump — whom 19 women have accused of sexual misconduct — have flip-flopped on the issue, promoting accusations made against political foes and undermining those made against allies.

As the spotlight on sexual misconduct shines on Washington, Democrats are attempting to seize moral authority in the debate, by ousting members of their own party stained by accusations, and strengthening their attacks on Republicans accused of sexual misconduct, chief among them the president and Alabama Senate candidate Roy Moore.

Here's what four top Republicans and four top Democrats have said about sexual misconduct:

SEE ALSO: Democrats are setting themselves up perfectly to pummel Republicans on sexual harassment in 2018

DON'T MISS: All the prominent Democrats who have called on Trump to resign over sexual misconduct allegations

On the right: President Donald Trump

Trump is arguably the most powerful person in the country facing allegations of sexual misconduct.

The president maintains that all 19 women who allege he sexually harassed or abused them are "liars," and the White House has argued in official statements that his election settled the issue of whether Americans care about the accusations.

In the same breath, Trump has praised the women who have come forward across the country with their stories of sexual abuse, and endorsed Moore. The Alabama Senate candidate was accused of sexually pursuing and molesting teenage girls when he was in his 30s. Moore lost the election on December 12.

"I think it's a very special time, a lot of things are coming out, and I think that's good for our society and I think it's very, very good for women," Trump said last month of the #MeToo movement. "I'm very happy it's being exposed."

Trump has publicly called out Democrats and members of the media, including NBC host Matt Lauer and Sen. Al Franken, who were both ousted for sexual misconduct allegations, but consistently defended his friends and political allies stained by similar allegations, including former Fox News chief Roger Ailes and Moore.



On the left: House Minority Leader Nancy Pelosi

Pelosi, a longtime advocate of women's rights, has at times hesitated to condemn men, particularly Democrats, accused of sexual misconduct.

She initially refused to criticize Rep. John Conyers, a Michigan Democrat accused of sexually harassing former employees, calling him a civil rights "icon," and arguing that he deserved "due process."

After more allegations against Conyers surfaced, Pelosi changed her position, calling the stories "very credible," and pressed the 88-year-old lawmaker to resign.

"Zero tolerance means consequences for everyone," she said. "No matter how great the legacy, it is no license to harass or discriminate."

Back in 2013, Pelosi was also reluctant to condemn a former 10-term member of Congress, Rep. Bob Filner, who later became the mayor of San Diego, after 13 women came forward to accuse him of sexual misconduct.

"What goes on in San Diego is up to the people of San Diego," she said at the time.

But in early December, Pelosi immediately called for Rep. Ruben Kihuen, a Nevada Democrat, to resign after allegations surfaced that he sexually harassed a former aide.



On the right: Senate Majority Leader Mitch McConnell

A longtime promoter of a no-tolerance policy on sexual misconduct, McConnell has recently wavered on this position.

In 2007, McConnell helped force Sen. Larry Craig from office after the Idaho Republican was arrested in an undercover sex sting at the Minneapolis airport.

And as the head of the Senate Ethics Committee in 1995, he helped oust Sen. Bob Packwood of Oregon after the powerful Republican was accused of sexual abuse and harassment by his female staffers.

But the top Republican has not abided by the same principled stance in the cases of Trump and Moore.

While he initially advocated for the Alabama Senate candidate to withdraw from the race, saying he believes the women have accused Moore, McConnell later refused to take sides, saying he's "going to let the people of Alabama make the call," after Trump officially endorsed Moore and the Republican party reinstated its support for the embattled candidate.

McConnell's wife, Secretary of Transportation Elaine Chao, said recently that she's experienced sexual harassment in the workplace, but warned women that dredging up past bad experiences "holds you back."



See the rest of the story at Business Insider

A look at the weddings of Bill Gates, Mark Zuckerberg, and more high-profile people in successful relationships

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• Many of the most successful people out there also have incredibly successful marriages.

• While you can't read into a marriage from a wedding, it's fun to take a look back at the days that marked the begin of married life.

• Some couples, like Tom Brady and Gisele Bundchen, took the low-key route. Others, like Bill and Melinda Gates, threw huge bashes.



No two weddings are exactly alike. Couples tend to throw events that match their personalities, tastes, and budget.

So it's not surprising that there's quite a range of wedding styles, even among some of the most successful people in the world. Some couples went for more modest, intimate affairs, while others opted for massive celebrations.

Here's a look at the weddings of some of the most successful couples out there:

SEE ALSO: The incredible career of Jeff Bezos' wife MacKenzie, an acclaimed writer who quit her job to support her husband and is now half of the richest couple in the world

The 100 or so guests attending the surprise wedding of Mark Zuckerberg and Dr. Priscilla Chan initially thought they had been invited to the latter's medical school graduation party. The nuptials took place in the backyard of the couples' Palo Alto home on May 19, 2012.

Source: The Washington Post



Zuckerberg designed a ruby wedding ring for his bride. The Washington Post reported dessert consisted of "Burdick Chocolate 'mice' (tiny chocolate truffles in the shape of mice), which they ate during their first date."

Source: The Washington Post



Bill and Melinda Gates married in 1994 in what was then Manele Bay Hotel in Hawaii. They tied the knot by the "par-3 12th hole" on the property's golf course, according to Forbes. The event reportedly cost $1 million.

Source: Business InsiderEasyWeddings.comForbesPeople magazineBusiness Insider, Business Insider



See the rest of the story at Business Insider

All the 'Star Wars' movies, ranked from worst to best

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It's now become a yearly discussion: Where does the latest "Star Wars" movie rank all time?

With Disney releasing a "Star Wars" movie every year for the foreseeable future, the ranking of all the movies in the franchise has become one of those things you pencil (well, magic marker) in leading up to the newest one hitting theaters.

With "Star Wars: The Last Jedi" opening on Friday, it's time to do it again.

Here's how I rank all the "Star Wars" movies after seeing "The Last Jedi."

SEE ALSO: "The Last Jedi" is an emotionally powerful "Star Wars" movie because it breaks all the usual sequel rules

9. "Attack of the Clones" (2002)

It's a movie I struggle with ranking every year. I watched it again recently and I'm back on the disapprove side. There's a lot to enjoy about the second episode in the prequels — mainly, how Ewan McGregor has fit into the Obi-Wan Kenobi role nicely. The movie focuses heavily on his storyline as he encounters Jango and Boba Fett as well as Count Dooku. From a nostalgic standpoint, the last third of the movie brings to life dreams you've had for decades, as Lucas gives us the start of the Clone Wars as well as Yoda having a lightsaber battle. But the agony of watching the Anakin Skywalker/Padmé Amidala storyline was just too much for me in this latest viewing. (I'm sure I'll change the placement of this title again next year.)



8. "The Phantom Menace" (1999)

George Lucas has said from the beginning that "Star Wars" was made for kids, and he really took that to heart when he unveiled "Episode I: The Phantom Menace," 16 years after finishing the groundbreaking original trilogy. Introducing us to Anakin at the age of 9 as he's plucked by Qui-Gon Jinn as the "chosen one" who will bring balance to the Force, the first prequel gives us a lot of tame action and unlikely scenarios for Anakin to be in, even in a galaxy far, far away.

The best part of the movie is its villain, Darth Maul, who has an incredible duel with the Jedi at the end of the movie. It's one of the only goose-bump moments in the whole movie — heightened by John Williams' score — and, sadly, you have to wait over an hour to get to it.

Yes, this is the movie that introduced us to Jar Jar Binks. That is all I'll say about that.



7. "Revenge of the Sith" (2005)

The conclusion of the prequel trilogy is one of the saga's darkest. A grown Anakin is seduced by the dark side of the Force and wipes out the Jedi, including the younglings (!). Padmé dies, but not before giving birth to their twins, Luke and Leia.

The most agonizing part of this movie to sit through is Hayden Christensen's performance as Skywalker conflicted with the dark side — more a sniveling 20-something than a disillusioned "chosen one." We don't get a good performance of that pull to the dark side until Adam Driver comes along to play Kylo Ren in "The Force Awakens." We can only partly blame Christensen: Lucas was never big on giving actors instructions, which proved here to be costly.

On the bright side: Another excellent performance by McGregor as Kenobi, and the duel at the end of the move between Skywalker and Kenobi is worth the wait.



See the rest of the story at Business Insider

Disney has struck an industry-changing deal, and now 'everybody is talking to everybody' (DIS)

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  • The Disney-21st Century Fox deal has been announced, and some media analysts expect a flurry of deals to follow.
  • The first may be for independent Hollywood studios, as content clout suddenly becomes in high demand.
  • Some experts see Viacom as a natural acquisition target.
  • What will really be interesting is whether tech giants like Amazon, Google, and Netflix feel motivated to get acquisitive.


Now that Disney has announced a $52.4 billion deal for slew of assets from 21st Century Fox, it's hard to imagine that other media titans will stand pat.

In fact, many in the business expect a frenzy of acquisitions as the industry grapples with the specter of Silicon Valley, with its powerful platforms and deep pockets, not to mention rapidly changing consumer media habits.

"It's an all-out war on the content front," said Peter Csathy, the founder of the media-consulting firm Creatv Media. "Conference rooms are buzzing, and everybody is talking to everybody."

Who knows what's next? Here are a handful of possible moves at a time when almost anything seems possible.

Everyone needs to get bigger, starting with the studios

If Disney is indeed buying Fox assets to hoard content for its coming streaming service (and to make movies featuring the X-Men and other Marvel characters it didn't already have access to), do other media giants need to load up on content?

As Business Insider's Nathan McAlone recently noted, the concentration of power is only growing. So staying small is getting tougher.

"Scale matters when you negotiate," said Michael Goodman, the director of digital media strategies and digital consumer practice at Strategy Analytics. "This is sort of a continuation of a reaction to AT&T-Time Warner."

Here are some potential studio targets:

  • Lionsgate ("Saw" franchise, shows like "Orange is the New Black" and "Mad Men")
  • MGM (James Bond)
  • Sony ("Spider-Man" and "Better Call Saul," though observers say any deal would be complicated)

Potential studio buyers:

Comcast: As the digital-ad veteran Jay Sampson, who has logged long stints at Microsoft and Adobe, sees it, AT&T may soon have Time Warner in-house. Thus, Comcast may need to match that combo by adding a studio with a deep back-end catalog. "They'd get efficiencies in production cost, marketing, and distribution and maybe vault ahead of Time Warner," he said.

Amazon: The company is looking for the next "Game of Thrones," Variety reported recently. "I can imagine an Amazon getting into the game," Csathy said. "Their underlying strategy is to drive Prime membership." And the more reasons people have to subscribe to Amazon's Prime service (like, say, 20-plus Bond movies on demand), the more shoppers are locked into the Amazon ecosystem.

Netflix: It has already bought a comic book producer, which provided the streaming juggernaut with its own IP. If Disney plans to choke off its library, maybe Netflix buys an MGM to fill out its library while continuing to invest in originals.

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Viacom has its challenges, but is it suddenly a big target?

There's no doubt the media conglomerate has its obstacles. Viacom's core business is cable networks aimed at young people (Nickelodeon, MTV) when young people are running from cable. Still, it has tentpole events like the Video Music Awards and kids' franchises like "Paw Patrol."

Plus, Viacom owns the movie studio Paramount.

Would-be buyers:

  • Viacom could recombine with CBS (they were part of the same company through 2006).
  • Viacom could look to connect with its fellow cable stalwarts Discovery/Scripps.
  • Or the likes of Comcast, Netflix, Amazon, or even Google could be interested. Maybe Google sees Viacom as a way to jump-start its move into TV ads?

The latter possibility is doubtful in the view of Brian Wiser, a research analyst for Pivotal. "I think the answer to pursuing TV advertisers' budgets is ongoing investment in video content," he said. "I don't think Google necessarily buys anyone to do that."

The Justice Department waiting game

Is the AT&T/Time Warner deal actually going to happen? It's uncertain, as the Justice Department has sued to block the deal, while the parties remain confident. It looks as if a decision won't happen until well into 2018.

The way this court case plays out could affect the appetite and parameters of lots of potential deals.

In the meantime, Goodman sees more consolidation among independent, regional cable distributors, such as Altice USA's recent purchases of Cablevision and Suddenlink Communications. "It's getting harder and harder for small operators," he said.

Is Verizon a buyer?

The wireless company was reportedly also kicking the tires on Fox. While Verizon has moved aggressively in online ads by purchasing AOL and Yahoo over the past few years, it is way behind when it comes to the TV screen.

But Verizon may be waiting to see what happens with AT&T and Time Warner. In fact, lots of people may be waiting for a decision on that deal.

department of justice building

If net neutrality goes away, then things might get crazy

The Federal Communications Commission is likely to end so-called net-neutrality rules. Sampson thinks that suddenly makes controlling the pipes into people homes — i.e., the broadband service that delivers people the internet —paramount, since, theoretically, an end to net neutrality would mean broadband companies could favor certain web content over others. That's when things get interesting.

For example, what if Amazon (or Google or even Facebook) bought Comcast?

"They've made big inroads into the home" with devices like the Amazon Echo, Sampson said. "Amazon to sell you stuff and Google and Facebook to sell you ads. Long term, they don’t want to be relying upon a cable operator or wireless carrier to get them there."

Plus, Sampson theorized, whoever controls broadband access would be able to start charging companies like Netflix a toll to get their content to people's home — or could choke those companies off. Lots of Netflix rivals would seem to be interested in that.

But many observers had serious doubts about how much net-neutrality rule changes would affect the way media companies operate.

"I think Amazon makes decisions based on what drives prices down or otherwise adds value to its retail and e-commerce consumers," Wieser said. " I don't know that owning pipes or distribution to consumers is necessarily that important."

A new presidential administration could also bring net neutrality back. "What if Trump is gone in a few years, and you've shifted your whole business and the laws go back?" Goodman said.

Trump

Does Apple do anything?

Csathy predicts that Apple will launch a Netflix competitor as a place to launch its own shows (Apple wants to spend $1 billion on content). That's why buying a studio could make a lot of sense, he said.

Others have resurfaced a popular theory: Apple could buy Netflix and put its shows there.

Apple isn't known for making such large acquisitions, Csathy noted. But it could look to grab a dark-horse content contender.

"Apple wont be able to stand on sideline," he said.

Join the conversation about this story »

NOW WATCH: Megyn Kelly reveals why she left Fox News

The $52.4 billion Disney-Fox deal is not just about Netflix — it also has major ad-sales ramifications

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  • Disney has announced a $52.4 billion media-industry-rocking deal to acquire a collection of assets from 21st Century Fox.
  • While 21st Century Fox's content assets help Disney in its budding war with Netflix, don't forget about ad sales.
  • The combined media entity immediately boasts a broader array of TV networks to sell to marketers, allowing it to command more clout in the market and deliver elaborate cross-network packages.
  • Fox's ad team also helps nudge Disney ahead in data-driven ad sales, where it's fallen behind, ad buyers say.


Disney has agreed to acquire 21st Century Fox's film studio and a large chunk of its television production assets for $52.4 billion — a deal that alters the media landscape as we know it.

It helps Disney battle accelerated cord cutting, gives it an even bigger repository of content, and helps prepare it to take on Silicon Valley giants including Facebook, Google, Amazon, and Apple.

But less examined thus far is the fact that the deal would make Disney all the more attractive in the eyes of media buyers purchasing ads on behalf of marketers.

The package that Disney is buying includes Fox's 39% stake in Sky across Europe, Star India, and a collection of pay-TV channels including FX and National Geographic. The deal also includes popular entertainment properties like X-Men, Avatar, and The Simpsons.

That represents a massive boost to Disney's TV advertising portfolio, whose cable-channel assets have been limited to Freeform and the very niche (and mostly ad-free) Disney Channel.

"From a cable point of view, Fox brings in rich assets in the form of FX and National Geographic, an area in which Disney has so far been limited," one TV ad buyer told Business Insider. "It sounds like a very synergistic compilation of companies and broadens its appeal to marketers."

Jason Maltby, the president and co-executive director of national broadcast at Mindshare, agreed, saying that Fox presented Disney with a much broader range of networks to sell to giant advertisers. "From a marketplace standpoint, fundamentally what this does is that it allows Disney to become a bigger player in the cable arena," he said.

The combined entity would also be able to provide advertisers more opportunities to purchase custom, complex ad packages that include a mix of TV and digital ads, said Jim Fosina, the founder and CEO of Fosina Marketing Group.

It also helps that the Disney-ABC TV Group reorganized earlier this year, laying the precedent for what comes ahead. The restructuring put ad sales for its entire portfolio, which includes ABC, Disney Channel, Freeform, and Radio Disney, under the company's sales chief, Rita Ferro. Buyers expect Fox's assets to be incorporated under Ferro as well.

"A consolidated Disney where they go to one place for all their needs is far more attractive to marketers," a TV ad buyer added. "A broader portfolio and reduced competition also allows Disney to attempt to garner a higher premium."

In other words, Disney now promises one-stop shopping and has set itself up to be one of the few big TV ad players left standing.

Ad buyers have been pushing for such streamlining for years, said Steven Piluso, the head of media and integration at Media Storm. He recalled having to go through numerous sales reps and silos within 21st Century Fox and News Corp, with it being common "to talk to eight to nine different reps to get a deal done." Consolidation is welcome, he said.

A combined arsenal of Disney-Fox assets also enables marketers to chalk out larger-scale ad programs that could tap into Disney and Fox's intellectual property — and its data.

For example, recently the Nissan Rogue was promoted in conjunction with "Rogue One: A Star Wars Story" across Disney's networks, stations, and shows like "Jimmy Kimmel Live!" — and even on ESPN, which is typically run independently. Campaigns like that could become bigger and more common.

"They have more leverage in the marketplace, more insight into how budgets are allocated, and, ultimately, a tighter grip on the future," Mindshare's Maltby said.

That grip is strengthened by more data. Advertisers have increasingly pushed the TV industry to embrace elements of digital advertising — in terms of audience targeting using data and software — an area where Disney has been seen as lagging.

Fox recently formed a consortium with Turner and Viacom to launch OpenAP— through which advertisers can mix and match data sets to be used for ad targeting on multiple TV networks.

The deal brings Disney into that fold.

"Until this point, Disney could not have played in behavioral marketing," Maltby said. "This really gives them the opportunity to play in that space and go beyond targeting based on gender and age and do it based on purchase behavior."

Join the conversation about this story »

NOW WATCH: 13 details you might have missed in 'Stranger Things' season 2

'Star Wars: The Last Jedi' director Rian Johnson reacts to the backlash and addresses the movie's most shocking moments

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  • "Star Wars: The Last Jedi" writer-director Rian Johnson addressed the backlash from fans who say his movie isn't like the original trilogy.
  • He explained how the fan theories of where the story would go after "The Force Awakens" didn't affect writing the script.
  • He said he hoped a female director would soon make one of the "Star Wars" movies — perhaps in the new trilogy he's creating.


WARNING: Spoilers below if you haven't seen "Star Wars: The Last Jedi."

It's getting into the evening hours in Los Angeles on the first full day "Star Wars: The Last Jedi" is in theaters. Rian Johnson, the director of the biggest movie of the year, has not stopped moving for a week.

First Los Angeles for the press junket. Then Japan. Back to LA for the flashy world premiere. Followed by a jump to London. Now back again to LA for a final round of press — for now.

When Johnson, 43, gets on the phone, he sounds weary from jetting around the globe. But he perks up when it's time to talk about "The Last Jedi." It's not just a movie he spent the past four years of his life writing and then directing. It's more than that.

Johnson has been a lifelong fan of the franchise, and he even chose to go to film school at the University of Southern California because the creator of "Star Wars," George Lucas, went there. In many ways, his entire career has been leading up to this point.

You can see many traces of Johnson's filmography in "The Last Jedi" — risk-taking ("Brick"), lighthearted moments ("The Brothers Bloom"), and world-building ("Looper"). But it's his love of the "Star Wars" franchise and his drive to tell a story that builds on "The Force Awakens" with something new and challenging that shines through.

It's that newness that has divided "Star Wars" fans about "The Last Jedi." Though many appreciated a movie that didn't just feed off the hallmarks of the original trilogy, others have voiced their disappointment with Johnson for breaking fresh ground.

That's where we began our wide-ranging conversation with Johnson. The director also touched on not being distracted by fan expectations, the challenge of bringing Luke Skywalker back into the saga, why Captain Phasma isn't featured more prominently in the movie, and what he hopes to accomplish with the new "Star Wars" trilogy he's creating.

The following has been lightly edited for clarity and length.

Jason Guerrasio: Like making any "Star Wars" movie, the director can't win. People complained that "The Force Awakens" was too much like the original trilogy. With your movie, the knock is it's nothing like the original trilogy. What are your thoughts when you hear that take?

Rian Johnson: Having been a "Star Wars" fan my whole life, and having spent most of my life on the other side of the curb and in that fandom, it softens the blow a little bit.

I'm aware through my own experience that, first of all, the fans are so passionate, they care so deeply — sometimes they care very violently at me on Twitter. But it's because they care about these things, and it hurts when you're expecting something specific and you don't get it from something that you love. It always hurts, so I don't take it personally if a fan reacts negatively and lashes out on me on Twitter. That's fine. It's my job to be there for that. Like you said, every fan has a list of stuff they want a "Star Wars" movie to be and they don't want a "Star Wars" movie to be. You're going to find very few fans out there whose lists line up.

And I also know the same way the original movies were personal for Lucas. Lucas never made a "Star Wars" movie by sitting down and thinking, "What do the fans want to see?" And I knew if I wrote wondering what the fans would want, as tempting as that is, it wouldn't work, because people would still be shouting at me, "F--- you, you ruined 'Star Wars,'" and I would make a bad movie. And ultimately, that's the one thing nobody wants.

And let me just add that 80-90% of the reaction I've gotten from Twitter has been really lovely. There's been a lot of joy and love from fans. When I talk about the negative stuff, that's not the full picture of the fans at all.

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Guerrasio: Even though the movie is the second part of a trilogy, it really feels like a standalone. Was that a goal of yours?

Johnson: Well, I wanted it to be a full meal. I wanted it to be a satisfying experience unto itself — because when you go into a theater, that's what you always want.

I did want to pick it up where the last one left off. I did want to do service to these characters in a way that felt consistent. And I wanted to leave it in a place where you felt you were excited for the potential of what could come next, and you're invested maybe a little more deeply in these characters and where they end up. In that way it is a middle chapter — it has to function like that.

But you know, it's also a movie, and I wanted to give people a full "Star Wars" experience. I wanted to give them something where they come out of the theater and feel totally satisfied.

BI Graphics_Rian Johnson quote 1Guerrasio: Speaking for myself, the satisfaction is that you move the trilogy someplace beyond the hot takes fans had since "The Force Awakens." And you did that by making some very shocking choices on who we will no longer see beyond this movie, theoretically. Has it been fun waiting for this movie to come out knowing "The Last Jedi" is a very different movie than what fans expected? Or was it panic that maybe your take could miss the mark?

Johnson: [Laughs.] It's been a combination of both of those things. When I was writing the movie, I was doing it while they were shooting "The Force Awakens." So it wasn't like I was reading all these theories online and being at my typewriter and going "Ha! Ha! Gotcha!" It was me coming up with a story. I was writing purely from a personal reaction to the script of "The Force Awakens" and what they were shooting. Snoke, for example, I probably would have done the same thing regardless.

Guerrasio: Oh yeah?

Johnson: Yeah. Snoke's fate came entirely out of Kylo's arc and realizing that in this movie the most interesting thing to me was for Kylo to be ascendant — to start by knocking the shaky foundation out from Kylo's feet and then building him back up into a complicated but credible villain by the end of it. And one that Rey now has a more complex relationship with than just "I hate you, I want to kill you."

And once I kind of landed on that, it quickly became evident that, OK, what is Snoke's place in this? If I build Kylo up to that point, the most interesting thing to carry into the next movie is Kylo running things, not any echo of the emperor/pupil relationship. And you realize the dramatic potential of that, and it just makes a lot of sense from the story point of view.

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Guerrasio: Was coming up with how Luke Skywalker would come out of his self-imposed exile a challenge to write?

Johnson: Yeah. It's something that, early in the process, the first thing I had to crack in the movie is why Luke is on that island. I had to figure out something that made sense, and you don't know much about where's Luke's head is at coming out of "The Force Awakens."

But what you do know is his friends are out fighting the good fight, and he's taken himself out of the equation. So for me growing up, I know Luke as a hero. I know that he must think he's doing the right thing by taking himself out of the equation, and that means he thinks the best thing for the galaxy is that he's not a part of this and, by extension, that the Jedi are not a part of this. So that leads you down a certain path.

Guerrasio: And how did you come to the realization that this would be the end of Skywalker?

Johnson: As I worked out that his arc was going to be coming to a place where he does this big heroic act that is going to be spread throughout the galaxy — basically taking back the mantle of Luke Skywalker, a Jedi master, a legend — it just slowly became clear to me that it would be this big grand act. It would be an act of mythmaking. And if there was ever going to be a place in this entire trilogy to give him this emotional moment of a goodbye, this was probably going to be the most emotionally potent place to do it.

Guerrasio: In many ways, this is Luke's coda.

Johnson: Yes, exactly. But I also have to say I'm not writing the next one, and I'm not sure what J.J. [Abrams] and [screenwriter] Chris Terrio are going to do in the next one with Luke.

But setting up possibilities for the next one, honestly, it seems much like Obi-Wan going where he did after "New Hope." The possibilities seemed even more exciting in terms of what Luke's place could be in the next chapter with him entering into this other realm as opposed to him having a lightsaber and being with our heroes. It opened more possibilities as opposed to fewer.

I was holding my breath when I did it and I realized all these things, though I also thought, "S---."

Guerrasio: And how did Mark Hamill react to all of this?

Johnson: It wasn't the thing he wanted to necessarily hear. [Laughs.] Understandably so. Mark had all these years to think what Luke's triumphant return would be. Luke's the hero coming back into this story, and the fact that this character and this movie could not be that — this character in this movie was by necessity what he had to be, and also in relation to Rey, that brought its own necessity.

If he comes in as just an optimistic fighter for the good guys, that gives Rey nothing to bounce up against — that's just an older version of Rey. So it's not what Mark had in his head initially, and that's why he's spoken very openly about his being caught off guard by the script and where the character ends up. But I knew this is where it had to be. We got into the conversations, and we got into the work, and we talked, and we argued, and we discussed, and that process ended up being very good for the character and also for our working relationship. It was a very good one.

Guerrasio: Like most movies, this one was crafted in post, you guys shot a lot.

Johnson: Yes.

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Guerrasio: Is the lack of Captain Phasma in the movie just simply that most of her scenes were left on the cutting room floor?

Johnson: There wasn't a ton of Phasma that we shot for this. The God's honest truth is, if you take a look at the movie, it's so full already. There are so many characters to serve already, and it's tough because Phasma really enters the movie when she needs to, and she does exactly what she needs to do in it. She's someone at the tail end of Finn's journey that represents his past for him to have this cathartic moment of being on the side of good and fighting her.

The notion of having a side plot of Phasma throughout the course of the film — look, I love Gwen [Christie]. I love Phasma. It would have been fun. But it just wasn't the story we were telling. There just wasn't a place for it. We already had quite a full plate to deal with in terms of all the other characters.

Guerrasio: So what you're saying is you've basically helped build the next Boba Fett-level fan-obsessed character for the "Star Wars" saga.

BI Graphics_Rian Johnson quote 2Johnson: [Laughs.] Look, I'm bummed about it too. Absolutely. I wish we could have more Phasma. Just the truth of it is there wasn't room for her in this movie. She's so badass, I wish it was her story. But it isn't. Maybe there will be one eventually at some point.

Guerrasio: I like that tease.

Johnson: [Laughs.]

Guerrasio: In regards to you taking on a new "Star Wars" trilogy, do you have a notebook filled of just ideas that would be cool to plug into this universe, or are you really going into this with a blank page?

Johnson: What's exciting to me right now is the open blue sky of it and the potential of it. I wish I had a file cabinet full of "Star Wars" ideas just in case, but also it's great because I can start from the beginning and work forward.

As opposed to having stuff I think would be cool, the thing that I think is cool is to figure out what the story will be and what character we're going to follow and build it from there. It's easy to come up with cool "Star Wars" stuff. It's just like grabbing your toys and starting to play. The real question is what the story will be — how are we going to create something that's really going to be a new and inspiring "Star Wars" story.

Guerrasio: It sounds like you will direct the first movie of this trilogy and then go on and produce the other two.

Johnson: We'll see. I'm not sure yet.

TheLastJediChewbacca Lucasfilm

Guerrasio: But if that holds, would you push to have a female director do at least one of those movies? Is that important to you?

Johnson: Hell yeah. I think that would be fantastic. Again, I don't know how it's going to go. I'm going to write and direct the first one and tell the story for the rest of them. But yeah, there are so many talented female directors that I would love to see do one of these movies. Look, I hope it happens in a "Star Wars" movie even before that! Going forward, that's something I would absolutely love to see.

Guerrasio: Give me the one scene/shot in "The Last Jedi" that, regardless of how many times you've seen it, you are pretty impressed that you pulled it off.

Johnson: [Laughs.] It was an early image that I had. I really love that slow-motion shot of Kylo and Rey back-to-back with the guards coming from all the sides in Snoke's chambers. And look, there were a lot of people whose work went into it to design the space and the guards, the stunt work, but that was a moment that I had just always held dear to me, and it's one of those very rare things where the realization of it on screen I just feel like, "Ah, we got it!" It makes me happy.

"Star Wars: The Last Jedi" is now in theaters.

SEE ALSO: 'The Last Jedi' is a super-sized 'Star Wars' movie that will make you laugh and cry

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Apple let a fake version of a major game slip into the App Store

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Cuphead

  • One of 2017's best games, "Cuphead," was copied.
  • The fraudulent version of the game made it through Apple's App Store approval process.
  • The game's creators say, "We are working on removing the fraudulent app ASAP!"


One of 2017's best games, "Cuphead," is out now on iPhone and iPad! Except it isn't — it's a "fraudulent" version of the game, according to the game's creators.

It appears as though the game was outright copied from its original version — which is only available on Xbox One and PC — and repackaged slickly enough to slip through Apple's iPhone and iPad App Store approval process. There are screenshots appropriate to the type of game that "Cuphead" is. The page on the App Store even lists "StudioMDHR Entertainment Inc." as the studio behind "Cuphead." In reality, the name of the studio that makes "Cuphead" is simply "StudioMDHR." 

Cuphead (fake/App Store listing)

As of Monday morning, the listing was still up on iTunes — and people were still able to purchase the fake version of "Cuphead" for $4.99. It was removed by 10 a.m. ET.

Adi Robertson of The Verge downloaded the game and played it. She writes, "You actually can play this version of 'Cuphead' using touch controls, but it’s ... a little off. The backgrounds look low-resolution, the animation is primitive."

We wouldn't suggest you do the same. As the game's developers said on Twitter, the game is a fraud. "There is a 'Cuphead' imposter app on the iOS store -- this is a scam. We are working on removing the fraudulent app ASAP!"

StudioMDHR co-founder Chad Moldenhauer expanded on the situation in an email to Business Insider. "We constantly find 'Cuphead' ripoff games on the iOS storefront," Moldenhauer wrote. "But this is the first time someone has tried to directly sign up under our actual company name and sell a fraudulent version of our game. It's unfortunate because it's time consuming for us to have to keep contacting the storefronts to get them to remove these frauds. We don’t want fans to think it's our stuff – because it isn’t and it could possibly be malicious."

If you're interested in playing "Cuphead" — which we'd strongly suggest, as it's an excellent game— it's available on Xbox One and PC, and costs $19.99. Check it out in action right here:

SEE ALSO: 'Cuphead' is a gorgeous new game that pays homage to classic cartoons — and it's as tough as it is pretty

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