• Bill Cosby is free on bail until the judge in his Pennsylvania retrial issues a sentence.
• By state law, the sentence must be given with 100 days of a conviction.
• Cosby was found guilty on Thursday of three counts of aggravated indecent assault for the drugging and sexual assault of Andrea Constand in 2004.

After being convicted in his retrial on Thursday, Bill Cosby is currently free on bail until sentencing. By Pennsylvania state law, the judge is required to announce a sentence within 100 days of a conviction.

If Cosby wants to leave the state, he must "first be fitted with a GPS tracking device before leaving," according to CNN.

Cosby was convicted on three counts of aggravated indecent assault in his retrial on Thursday by a Montgomery County jury in Norristown, PA. Cosby was convicted for the drugging and sexual assault of Andrea Constand in 2004. It is the only case to be brought to trial out of the more than 60 women who have come forward with sexual misconduct allegations against Cosby.

The prosecution requested that Cosby be jailed immediately because he owned a private plane, at which Cosby shouted in court "he doesn't have a plane, you a------" (about himself in the third-person).

Judge Steven O'Neill denied the request, and allowed Cosby to be free on bail until sentencing.

Cosby faces up to 10 years for each count, meaning if O'Neill issues the maximum sentence, 80-year-old Cosby could face 30 years in prison.

SEE ALSO: Watch the stand-up comedy clip that reignited the Bill Cosby sexual-assault allegations

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• "Science fiction and fantasy" became the most popular genre of Netflix original show among subscribers in Q1 of 2018, according to data compiled by the analytics firm Ampere Analysis.
• Netflix has been able to "anticipate" an increase in demand for the genre by rapidly expanding its production of original sci-fi and fantasy shows and movies, according to Ampere.
• More than one quarter (29%) of upcoming Netflix originals are in the sci-fi and fantasy category, higher than any other genre.

Science fiction and fantasy are dominating Netflix, and subscribers can expect a lot more of it in the coming months.

"Sci-fi and fantasy" became the most popular genre of Netflix original show in Q1 of 2018, and the streaming service has been able to "anticipate" an increase in demand for the genre by rapidly expanding its production of original sci-fi and fantasy shows and movies, according to the analytics firm Ampere Analysis. 

The genre overtook comedy as the most popular Netflix original category, with 12% of subscribers choosing it as their favorite genre of show, according to Ampere.

In Q1 of 2017, comedy was the most popular genre, with 14% of subscribers calling it their favorite category on the service. Comedy dropped to a second-place 11% in Q1 of 2018, and it's currently followed by action and adventure in third place.

To meet this change in customer preference, more than one quarter (29%) of Netflix's upcoming original content fits into the sci-fi and fantasy category, Ampere said.

This follows the continued success of Netflix's hit series "Stranger Things," which released its second season in October 2017 after debuting in July 2016.

Netflix has followed "Stranger Things" with sci-fi series like "The OA," "Altered Carbon," and a new reboot of the 1960s series "Lost in Space." On Thursday, Netflix ordered another sci-fi series, "Another Life," which centers on an alien mission and stars "Battlestar Galactica" actress Katee Sackhoff.

The company has also released a number of sci-fi films, like "The Cloverfield Paradox," and it handled international distribution for the Natalie Portman-led film "Annihilation" this year.

Netflix's push comes as its competitors are also pursuing high-cost series in the genre.

Following the success of its fantasy series "Game of Thrones," HBO is now on its second season of the sci-fi series "Westworld," which costs an estimated $8 million to $8.3 million per episode. Netflix's streaming rival, Amazon, in pursuit of its own "Game of Thrones," will reportedly be spending $1 billion on a "Lord of the Rings" series.

"Netflix uses sophisticated customer analytics to rapidly respond to changes in subscriber taste, so as demand for Sci-Fi and Fantasy grows, so does the amount of commissioned content," Ampere analysts wrote, adding the following chart to depict the corresponding shifts:

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• Former "Today Show" cohost Ann Curry told The Washington Post this week that she warned NBC executives about sexual harassment from Matt Lauer in 2012.
• Curry told The Post that she complained to two NBC executives after a female "Today Show" staff member told her that Lauer "sexually harassed her, physically."
• An NBC spokesman told The Post that the network had no record of Curry's warning.

Former "Today Show" cohost Ann Curry told The Washington Post this week that she warned NBC executives about sexual harassment from Matt Lauer in 2012, five years before he was fired in November for alleged misconduct.

Curry told The Post that she complained to two NBC executives, whom she didn't name, after a female "Today Show" staff member told her that Lauer "sexually harassed her, physically."

"A woman approached me and asked me tearfully if I could help her," Curry said. "She was afraid of losing her job."

Curry said she didn't reveal the woman's name to NBC's management at the woman's request. "I told management they had a problem and they needed to keep an eye on him and how he deals with women," she said.

The NBC staffer confirmed to The Post that she went to Curry with her complaint, but asked that the publication not reveal her name.

An NBC spokesman told The Post that the network had no record of Curry's warning. NBC did not respond immediately to a request for further comment from Business Insider.

In January, Curry said on "CBS This Morning" that she was "not surprised by the allegations" that resulted in Lauer's firing, but she had not spoken publicly about what she specifically knew about Lauer's misconduct until she spoke to The Post this week.

Lauer responded for the first time to the allegations that resulted in his firing last year in the same Post article published Thursday.

"I fully acknowledge that I acted inappropriately as a husband, father and principal at NBC," Lauer said. "However I want to make it perfectly clear that any allegations or reports of coercive, aggressive or abusive actions on my part, at any time, are absolutely false." 

SEE ALSO: NBC host Matt Lauer fired for 'inappropriate sexual behavior' at work

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"The deals we made to shake things up / And the rights that they abuse / Might just f--- us over," MGMT's Andrew VanWyngarden sings on "Hand It Over," a thinly veiled rejection of the current administration and one of the best songs on the band's latest album, "Little Dark Age."

With its mix of velvety and haunting synth-pop, the band's contemplative fourth release sees founders Ben Goldwasser and VanWyngarden at their finest again after a couple of mixed-reviewed albums and their uniquely popular psychedelic-pop debut, 2008's "Oracular Spectacular," whose entrancing global hits "Kids," "Time to Pretend," and "Electric Feel" were written in their college dorm very much tongue-in-cheek in a dig at vapid rock-star celebrity.

MGMT, who one critic has called "the millennial version of Steely Dan," wrote the core of "Little Dark Age" (Columbia) around the time of the 2016 election, and while it's imbued with a sense of foreboding, even horror, there is enough counterbalancing levity and gorgeous melody to carry the record through.

Yet it's more complex than just a political essay, delving into themes as varied as mistrust online and technological crises stemming from data harvesting. And there are flashes of giddy optimism. Which is to say, it's a quintessential MGMT production.

We recently caught up with VanWyngarden to talk about "Little Dark Age."

Daniel McMahon: So it's the early 2000s, and you and Ben are music undergrads playing gigs for friends at Wesleyan. Did you ever imagine you'd end up a rock star touring the world?

Andrew VanWyngarden: Well, that's the whole narrative of our band, kind of cosmically funny and ridiculous in some ways, just being these two guys at a small liberal-arts college. We had this sort of inside-joke, karaoke electro-pop act, and the lyrics were about — and the performance was about — this ironic rock-star thing.

We were in a dorm playing a little show for people, wearing fake-fur jackets and having bottles of Champagne with maybe 15 people. The whole thing was the absurdity of it. And then those very songs that we wrote, with those ironic lyrics ["Let's make some music, make some money, find some models for wives"], are what got us signed to a major label and ended up putting us on David Letterman and playing Coachella. [Laughs]

Then a few years later, we're on those platforms, singing those same songs, but kind of not wanting to wear fur coats and drink Champagne, because then we're going to be fully doing that not as a joke, but actually living that. We had to figure out how to be a real band but sing these songs that were sort of jokes to us, knowing that those are the songs that are going to sustain us.

It's kind of a crazy storyline.

But I'm not really surprised that we went out and did big things. I think that was always inside of us, even though it was a joke on a small college campus. We both had an inkling that that was possible. But I never would have suspected or guessed that we'd be able to sustain a longer career, and we definitely never, ever would have guessed that the three songs on our first album would be the meat and potatoes of the band for all eternity. [Laughs] But it's like, hey, you know, it's a blessing and a curse in some ways.

As an artist you want to do different things and experiment and push yourself. You know a large percentage of people who come to your concert just want to hear, like, two songs. But I totally understand that, because I've been that person many times going to concerts and I only want to hear two songs. And so we go out and we try to put on a show that will please the deeper-listening fans as well as the more casual fans. That's been way more pleasurable of an experience than when we were touring for our second album and feeling a little — I don't know what — feeling like, "We're artists, and you guys don't even realize it!" [Laughs] So we've gone through all sorts of phases.

McMahon: Was there a moment when you and Ben felt like you had really "made it"?

VanWyngarden: I mean, the things that made that sink in were maybe the less appealing, kind of more negative associations with that, like being treated differently by friends and family. That's not really fun. There was definitely a period of adjustment, but it was during that period where I felt weird.

Ben and I never wanted to blow up. We were never really shooting for fame and that kind of celebrity success. So when people approach you expecting that or wanting that, it makes you feel weird. So I don't know.

There have been a lot of ups and downs, but I think the dip after we finished our tour for our third album, that's kind of what led into "Little Dark Age."

We toured until the end of 2014, and I was sort of going out with a bang or something. We were touring, and I was partying, and I was 31, and I was like, "This might be the last hurrah for the band." Like, "It's been a good run!" [Laughs] That kind of thing.

But then in 2015, Ben and I took off completely, and we were focusing on things like, for me, I was finishing a house renovation, and Ben was moving to LA. And so it was like MGMT was on the back burner for a while. So I was pleasantly surprised when got back working together to see that strong creative connection. Like, that flame never went out. We were able to get back together and put out songs that I think are some of the best songs we've ever done.

McMahon: So yeah, on tour you're putting on brilliant shows with a balance between new and older songs. And you've created a vibrant visual presentation with all this powerful imagery.

VanWyngarden: You know, we've finally gotten to a point where we're putting more energy and coordinated production into the show. It went from, like, 2008, to reluctantly touring and almost not knowing how to and not wanting to, to really taking our live show to the next level. And unfortunately, that's also the period where the most eyes were on us. So I think we got a reputation as a shitty live band for a while. And now I think we're incorporating songs from all our albums in a really fluid way, and I'm happy it's where we got to.

McMahon: For the first part of your current North America tour, you had Cola Boyy open for you, and he was quite the surprise hit. How did you find him?

VanWyngarden: I was just on Instagram, and I went through a little hole. I saw that someone I knew had toured with this guy called Cola Boyy, so it was purely on the internet. I found his music and listened to it. I was into it. We were looking for a solo act as an opening act for our tour, so it kind of worked out.

He was really psyched to come out and join us. He just signed to a label and is working on an album, so it was good timing for him. We've become pretty good friends. He's on our same wavelength, and we had a really fun time. I'm kind of into that random internet find.

McMahon: Is that how you find a lot of new music?

VanWyngarden: You know, I'm shamefully unaware of new music, like what's happening and smashing and what's the latest thing. But I am a voracious record collector. When we're on tour, I go to record shops in every town. In terms of finding music that's new to me, that's how I like to do it: find stuff at shops that I've never heard of. And then of course I go into deep internet holes where I'll be on Discogs and YouTube and just go that way too.

McMahon: There are several really great songs on the new album, and some are quite dark. What was going on when you were writing this album?

VanWyngarden: MGMT has always been — thematically and with all its lyrics, as with the first album — this sort of postapocalyptic youth gang living by the beach and surviving in this scrappy way. And I think there's been a thread of "The world is ending" and "What are we going to do as humanity?" It's forced a shift, and it's been there since the start of the band.

I honestly I think a lot of that can be traced back to September 11 and the attacks happening during what was for me and Ben our second week of college. That was just, like, a complete life-changing shock, where it totally cracked this feeling of "The world is a safe place." And that happened at the time when it usually happens anyway, when you're 18 or 19 and you start gaining a new perspective of the world and a new perspective of who you are. And so I think that happening during our formative years sort of led to this vein of paranoia and suspicion of the government that's in our music.

And then there's been this hesitance to fully embrace technology, and a wariness to fully embrace technology, this sort of savior that's supposed to raise your consciousness, when I feel it's more like an isolating and dangerous thing. That all came to a head and was exposed in 2016, and that's right when we were making "Little Dark Age." So considering who we are as a band and the stuff I like to sing about, of course the election is going to make it into the lyrics and into the moods, as with September 11, this mass-level shock that happened.

Have you seen "HyperNormalisation"? I really think everybody should watch it. I think there was an article in The New Yorker about how that movie, which came out in October 2016, about how much that movie influenced artists and kind of seeped into the music, because he really, in a beautiful, artistic way, with the collage of archival footage, kind of explains what happens, and things like Cambridge Analytica and all the data harvesting and how people are just, like, speaking into mirrors — and all this stuff is sort of predicted by this guy in this movie. That was also something that influenced the lyrics on the album.

McMahon: In part, "Little Dark Age" delves into even darker matter, like dying. What are your views there, and do you believe in the afterlife?

VanWyngarden: Well, I wish that I were as eloquent and fluid as some of my favorite writers who speak about death, but I go all over the place with it. I obviously don't believe in heaven and hell and that whole thing. But I feel, through the experiences I've had, through the psychedelic realm, that everything is happening at once at the same time, like infinite worlds are happening at the same time. Everybody's dying all the time and being born all the time. I actually believe the entire universe is being destroyed and reborn every nanosecond.

So I don't know. It makes it unclear how I feel about human death. Or if I believe in the soul or what lasts. But I do believe that there is a never-dying, eternal sort of energy that exists and is in everybody and everything.

McMahon: Are you already working on new stuff, or are you always working on new songs?

VanWyngarden: Ben and I have our little home-studio setups. I go up there and try to mix stuff regularly, but it's not really a focus like MGMT writing, because Ben just got married and that's been taking up most of his energy. We have always wanted to figure out a way to work and write when we're on tour, but it ends up being hard because of the different rhythm you have to get into when touring. You never really end up having a quiet space that's conducive to creative activities — you're in kind of in these windowless backstage rooms with a bag of Cheetos.

The second half of MGMT's world tour kicks off in North America on May 7. "Little Dark Age" and tour dates available at whoismgmt.com.

Here's a sample of some of MGMT's best songs, old and new:

"When You Die"

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"Little Dark Age"

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"Hand It Over"

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• Robert Rodriguez and producer Jon Landau ("Avatar") talked to Business Insider at CinemaCon about the evolution of bringing "Alita: Battle Angel" to the screen.
• It was originally a project James Cameron was to make, after he discovered the manga around 2000. However, the success of "Avatar" changed everything.
• Rodriguez has resurrected the project, and explained how it will still feel like a Cameron movie, and why it won't make the mistakes of recent manga release, "Ghost in the Shell."

Before James Cameron made “Avatar” and broke all box-office records, he was planning on making the big-screen adaptation of “Battle Angel Alita,” the famous manga series created by Yukito Kishiro.

In fact, Cameron's deep dive around 2000 into the rich material about a cyborg named Alita (played in the movie by Rose Salazar) who tries to rediscover her past after being found in a garbage heap by a cybernetics doctor, wasn’t just going to be a single movie but a franchise.

However, Cameron had to put the project on hold as the success of “Avatar” has now led to him making multiple sequels of the movie (at the same time). Luckily, he’s found a worthy filmmaker to take on the “Battle Angel” material.

Robert Rodriguez, who is known for his wide range of titles (“Desperado,” “Machete,” “Sin City”) took Cameron’s material and crafted it into a stunning 3D movie (opening December 21).

After showing footage of “Alita: Battle Angel” at CinemaCon on Thursday, Rodriguez and producer Jon Landau (“Avatar” movies) sat down with Business Insider to talk about the evolution of the project and why this manga won’t end up like the big-screen version of “Ghost in the Shell.”

Jason Guerrasio: Jon you said on stage that Robert came in and "edited" Cameron's material to make the movie. Robert, what did that entail?

Rodriguez: Jim was writing “Alita” for himself to make. So he had already taken the 30-plus books and found which stories to focus on and created a story that was a movie story. He even wrote his first draft, which was long but he would have gotten there if he kept on it. But he got busy on “Avatar” so it was just left. So I asked him at this one meeting, "What are you going to do if you're now doing 'Avatar?' If you're only doing 'Avatars' what happens to 'Battle Angel?'" He said, "I won't have a chance to make it, but hey, if you can figure it out you can go and make it." And I was like, sh-- that's what I'm doing this summer. I took his 600 pages of notes home with me and I figured out what I needed to fill in.

When I read it I could tell this doesn't need a rewrite, it just needed to be cut down. So being an editor I just pretended it was already shot and I just edited it down to length and I suggested some additional photography and dialogue to patch the holes. That's it. And he went, "That sounds good, let's go make it." That was the main work, taking the vision that he already had and like I made “Sin City” in the style of Frank Miller, I made this like it would fee like a Jim Cameron film that I always wanted to see. 

Landau: And Robert did that on his own. He didn't say, "Put a deal in place for me to be the director." He just went and did it. And that speaks volumes. And we read what he did with Jim's 180-page script, and nothing was missing. And that told us that he understood what was important thematically. A lot of people talk about plot, Robert held onto the themes that were so important. 

Rodriguez: In fact, Jim told me he would play a game with himself while reading the script. He would be coming up on a part of the movie that he liked and would say to himself, I bet that's cut out, and he would love that it wasn't cut. The stuff that I thought he would miss the most, I made sure to keep in there. 

Landau: Honestly, Robert wasn't the first director we came to for this, but we never found the right fit to give up something that we believed in. I mean, Jim put in the time commitment to write it. 

Guerrasio: I know that “Battle Angle” is a very different manga than “Ghost in the Shell,” but seeing the disappointing result critically and financially for that movie, can you see the potholes you need to navigate around?

Landau: I think the pothole to avoid is what Jim did in the script. This is a movie that is about her. This movie is about emotion. One of my favorite shots in the movie is when Alita cries. That's a human thing. I think oftentimes other movies are made based on mangas that don't access that human quality. So to us she's just a character. And that's why I said on stage, "She's not a superhero, she's a hero." Just a regular girl who comes into this world and I think everyone can identify with her. 

Rodriguez: Also, Kishiro didn't write a movie that was particularly Asian. It was actually set in Kansas City. But we set it in South America because Jim's scientific mind made him believe that a space elevator would work better near the equator. So I was excited to make a Latin-based movie with a diverse cast that was organic to the story. This is set in the last city that's left in existence so people from all over are there. That helps you avoid the pitfalls of something that's particular to a society, like “Ghost in the Shell.” 

Guerrasio: Robert, you've taken risks on your movies all the way back to your first one, “El Mariachi.” What makes this different from those?

Rodriguez: It was risky in this sense: You'd seen "Planet of the Apes," but that's an ape, we were making for the first time a really human face. We've seen it in the "Star Wars" movies but that's just a few scenes. Here is a real character that we're creating and it has to be as human as the characters around them. We don't shoot hardly any green screen in this. Just to extend sets. Real sets, real actors, and there are a couple of characters that are completely CG and they have got to stand up skin for skin, eye to eye with anyone else. No one had done that. So we're pushing the envelope with that. But my risk level was lower because Jim had gone through this already on "Avatar." 

Guerrasio: Jon, compare and contrast Robert's style to James'.

Landau: The interesting thing about both of them is they are true auteurs. They both write, direct, edit — cinematographers when they want to. What I have found is Jim has his way of doing things. Robert is a student of filmmaking and he's adapted his style to making a Jim Cameron movie. A commitment he made. He understood he had to leave the world he was familiar with and approach it differently. Jim does that through always using different technology. 

Rodriguez: Here's an example how we're different. We're both into 3D, and he invited me to the making of the 'Terminator 2" 3D ride that he shot for Universal Studios. I'm such a fan and I try to impress him by telling him that I was taking a 3-day steadycam course because I was going to operate steadycam on my own on "Desperado" because I couldn't afford a steadycam operator. And he said, "I bought a steadycam, but not to operate it, I'm going to take it apart and design a better one." [Laughs.] That's the difference between me and Jim. I'm just a mortal trying to figure things out, he's designing a whole new system. 

Guerrasio: I need to bring up "Avatar," Jon, what are the challenges of shooting two movies at the same time?

Landau: Well, we are doing a little more than two. 

Guerrasio: Oh, I thought you were shooting just two right now simultaneously.

Landau: Two and a little more. 

Guerrasio: Ah, ok. 

Landau: I think what we had to get our heads around is the first “Avatar” was a marathon. Now we're running a triathlon. We have to gauge ourselves and our crew to handle that long-term thing. But when you break it down, what we are really doing here is a miniseries on a super scale. There are segments of that miniseries that need to come to completion for the story arc. And then you build upon that. Once we got our heads around that we're really telling one big story, we were able to figure out how to plan it and schedule it. The cast is there and they are doing scenes from movie two today, movie three tomorrow. But we explained to them it's not different than doing just one movie. You do the end scene on day five and another scene another day. It's just communicating that to people. 

Guerrasio: Robert, you are always directing or producing, one project that I want to know that’s always talked about is “Machete Kills Again... In Space.”

Rodriguez: [Laughs.]

Guerrasio: Is that a real movie?

Rodriguez: Danny [Trejo] and I always say we're making that. The joke was that “Machete” 2 and 3 were together because you have a fake trailer for 3 [in “Machete Kills”]. The idea is we got to kind of make it already because there's the phantom trailer floating around. But you never know, we might make it. People have always expressed interest. There might be a way to do it.

Guerrasio: I feel you can make those movies with Danny for years and people would watch them. 

Rodriguez: It's crazy, I met Danny on the set of “Desperado” and I told him about "Machete." "You are going to play a character called Machete some day," and it became his most iconic character.

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• Chance the Rapper distanced himself from Kanye West's vocal support of President Donald Trump in a tweet on Friday, after Trump thanked both rappers on Twitter earlier in the day.
• Chance, whose real name is Chancellor Bennett, drew criticism from left-leaning fans and support from the right on Wednesday for tweeting, "Black people don't have to be democrats," in response to West's support of Trump.
• On Friday, Bennett posted screenshots of an extended iPhone note explaining the rationale behind his tweets.

Chance the Rapper distanced himself from Kanye West's vocal support of President Donald Trump in a tweet on Friday, after Trump thanked both rappers on Twitter earlier in the day.

Chance, whose real name is Chancellor Bennett, drew criticism from left-leaning fans and support from the right on Wednesday for tweeting, "Black people don't have to be democrats."

Bennett's tweet came in response to West praising Trump as his "brother" and posting a picture of himself wearing a red "Make America Great Again" hat on Twitter Wednesday. West also criticized former President Barack Obama for not doing enough to "change" Chicago, Illinois, West's and Bennett's hometown.

Trump on Friday morning tweeted: "Kanye West has performed a great service to the Black Community - Big things are happening and eyes are being opened for the first time in Decades - Legacy Stuff! Thank you also to Chance and Dr. Darrell Scott, they really get it (lowest Black & Hispanic unemployment in history)."

Following Trump's tweet on Friday, Bennett posted screenshots of an extended iPhone note explaining the rationale behind his tweets.

"I didn't speak up because I agree with what Kanye had to say or cause I f--- with Trump," Bennett wrote. "I did it because I wanted to help my friend and cause I felt like I was being used to attack him."

In reference to Trump, Bennet wrote that he would "never support anyone who has made a career out of hatred, racism and discrimination," before elaborating on his earlier tweet stating that "Black people don't have to be democrats."

"My statement about black folk not having to be democrats (though true) was a deflection from the real conversation and stemmed from a personal issue with the fact that Chicago has had generations of democratic officials with no investment or regard for black schools, neighborhood or black lives. But again, said that s--- at the wrong time," he wrote.

Read his full statement below:

SEE ALSO: 13 music stars who unfollowed Kanye West on Twitter after his support of Trump

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• The ending to "Avengers: Infinity War" has huge consequences for the Marvel Cinematic Universe and may leave audiences in disbelief.
• But it's taken straight from the comic book the movie is loosely based on: 1991's "The Infinity Gauntlet."

Spoiler warning: Don't read if you have not seen "Avengers: Infinity War."

By the end of "Avengers: Infinity War," audiences may be taken aback by how devastating the movie is for the Marvel Cinematic Universe. The film's ending is shocking in more ways than one, but it's also taken straight from the comic book the film is loosely based on.

At the end of the film, Thanos has acquired all six Infinity Stones he needs to wipe out half of humanity from existence and bring "balance" to the universe. With the snap of his fingers, people across the universe begin to fade away — including many of the Avengers. It appears that Thanos, for the time being, has won.

It might be rough for the average moviegoer to stomach, as the MCU has generally shied away from such consequential events. Even "Captain America: Civil War," based on a comic book that leads to the death of Captain America, was afraid of the notion.

But this moment in "Infinity War" is a familiar one for anyone who has read Marvel's "The Infinity Gauntlet" comic book.

"The Infinity Gauntlet" is a 1991 six-issue mini-series event that finds Thanos wanting to wipe out half of humanity like he does in the film. Only in the comic, he is doing it at the command of Mistress Death, who he wants to impress.

At the beginning of the mini-series, Thanos already has the six stones, and he wastes no time in submitting to Death's request (Death sees the fact that "there are more people alive today than have ever died" as a "cosmic imbalance").

In the comic, Thanos snaps his fingers, and people disappear — including Avengers such as Black Panther and Hawkeye (the guy can't catch a break).

Something quite similar happens in the movie, and we'll have to wait until next year for the fourth "Avengers" film to continue the story.

But if comic book history is any indication, we'll be seeing many of those Avengers who disappeared again, and at least some of the events of "Infinity War" may be reversed in "Avengers 4." By the end of "The Infinity Gauntlet," things are restored back to the way they used to be. 

Characters rarely stay dead in comics, and the same will probably be true for the Marvel Cinematic Universe — especially when there are already movies planned for them, including "Guardians of the Galaxy Vol. 3" and a sequel to "Spider-Man: Homecoming." Judging by how successful "Black Panther" was at the box office, there will most certainly be a sequel to that, as well.

But for now, "Infinity War" has huge consequences for the MCU — we just could have seen it coming based on the comic books.

SEE ALSO: 'Avengers: Infinity War' is worth the 10-year wait and will rip your heart out

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• "Avengers: Infinity War" ignores the most absurd subplot of "Avengers: Age of Ultron" and the movie is better because of it.
• In "Age of Ultron," Black Widow and Bruce Banner have a romantic relationship. 

Spoiler warning: Don't read if you have not seen "Avengers: Infinity War."

2015's "Avengers: Age of Ultron" is ridiculous for many reasons, but the most absurd aspect is the unlikely romantic relationship between Natasha Romanoff/Black Widow (Scarlett Johansson) and Bruce Banner/Hulk (Mark Ruffalo). Fortunately, "Avengers: Infinity War" pretty much ignores it.

In "Age of Ultron," it's unclear just how much Romanoff likes Banner — she is, after all, a spy who is a master of deception — and the relationship is mainly used as a plot device whenever the Hulk needs to be calmed down.

"Infinity War" makes sure to ignore that subplot. The two have an awkward and very brief encounter where they say 'hi' to one another and that's it. The move is satisfying. The relationship is acknowledged, but quickly left in the dust.

With so many characters and storylines already in the movie, it makes sense to leave that one on the cutting room floor — especially since it was so ludicrous in the first place. 

Earlier this year, while talking to reporters on the set of "Infinity War," Ruffalo said that Banner and Romanoff were "star-crossed lovers, so it’ll be something they’re dealing with for the rest of their lives. Whether it’s requited or unrequited, I don’t imagine that’s gonna go away any time soon in one iteration or another.”

If there's anything still between them, we're glad it at least went away for the duration of the movie.

"Age of Ultron" isn't the best-reviewed movie in the Marvel Cinematic Universe. It has a 75% on review aggregator Rotten Tomatoes, which isn't bad, but it's far from the score for "The Avengers," which has 92%.

"Infinity War" is also doing well among critics and has 84% as of Friday.

SEE ALSO: The 'Avengers: Infinity War' ending is devastating — but the comic it's based on provides a glimmer of hope

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Move over, lemonade stand, because these kids may have found the next great way to make pocket money.

All it took was a Macbook Air, a monitor and keyboard, and a sign that said "Fortnite: €1 to play, GET €10 IF YOU WIN," and a group of three friends were in business. That's according to Owen Williams, the proprietor of tech newsletter service Char.gd, who shared the photos on Twitter.

It's just another sign of how "Fortnite: Battle Royale," the last-player-standing island deathmatch video game, has become a global phenomenon.

Take a look:

SEE ALSO: Meteors have finally started hitting the ground in Fortnite — take a look

One of the young entrepreneurs' parents were apparently holding a garage sale during Amsterdam's King's Day festival on Friday, hence the curbside table. He took the chance to set up the Fortnite booth alongside the garage sale.

Williams said he didn't get a chance to play, because the stand had attracted quite a crowd of mostly kids, eager to play. He also said that in the time he spent watching the booth, nobody had yet won, so their business model seems to be holding up just fine.

Williams also posted about the Fortnite stand on Twitter.

The kids decided to set up the stand for King's Day, a national holiday in The Netherlands. It's a tradition during the holiday for kids to set up games and earn pocket money, but Williams notes that they took it to the "next level."

• NBC News anchor Tom Brokaw on Friday responded to allegations of sexual misconduct against him, in an email sent to NBC News colleagues and obtained by The Hollywood Reporter. 
• Brokaw's former colleague Linda Vester told Variety and The Washington Post that Brokaw harassed and groped her in the 1990s. Brokaw, through NBC, issued a denial to the allegations.
• Brokaw wrote in the obtained email, "I am angry, hurt and unmoored from what I thought would be the final passage of my life and career."
• In the email, he described Vester as a "former colleague who left NBC News angry that she had failed in her pursuit of stardom."

NBC News anchor Tom Brokaw hit back at allegations of sexual misconduct made against him by Linda Vester, a former war correspondent for NBC News, in an email sent to his NBC News colleagues and obtained by The Hollywood Reporter on Friday.

Vester alleged to Variety and The Washington Post that Brokaw harassed and groped her in the 1990s. She said that, at the time, she didn't bring a complaint to NBC. A second, anonymous woman The Post talked to also accused Brokaw of acting inappropriately. Brokaw, through NBC, issued a denial to the allegations and said of Vester that he "made no romantic overtures towards her at that time or any other.”

In the email to his colleagues obtained by The Hollywood Reporter, Brokaw was more forceful in defense of his conduct and in his criticism of Vester.

"I was ambushed and then perp walked across the pages of The Washington Post and Variety as an avatar of male misogyny, taken to the guillotine and stripped of any honor and achievement I had earned in more than a half century of journalism and citizenship," Brokaw wrote in the email.

"I am angry, hurt and unmoored from what I thought would be the final passage of my life and career, a mix of written and broadcast journalism, philanthropy and participation in environmental and social causes that have always given extra meaning to my life," he continued.

Brokaw, 78, called Vester in the email a "former colleague who left NBC News angry that she had failed in her pursuit of stardom," with a "reputation as a colleague who had trouble with the truth."

Representatives for Brokaw did not immediately respond to a request for comment from Business Insider.

Vester told Variety that Brokaw tried to force her to kiss him on two occasions and groped her in an NBC News conference room.

"He grabbed me behind my neck and tried to force me to kiss him," Vester said of the first alleged incident in January 1994, when she was 28 years old. "I was shocked to feel the amount of force and his full strength on me. I could smell alcohol on his breath, but he was totally sober. He spoke clearly. He was in control of his faculties." In the email, Brokaw said he kissed her on the cheek.

Vester also told Variety that when she asked what Brokaw wanted of her, he replied, “An affair of more than passing affection.” A year later, Vester said Brokaw again tried her to kiss him and that, when she pulled away, he asked, "Can you walk me to a taxi?"

"I emphatically did not verbally and physically attack her and suggest an affair in language right out of pulp fiction," Brokaw wrote in the email. He called the allegations a "drive by shooting by Vester, the Washington Post and Variety."

"My client stands by the allegations which speak for themselves,” Ari Wilkenfeld, Vester's lawyer, said in a statement to Business Insider.

In an email to staff, NBC News Chairman Andrew Lack wrote, "As you have all seen now in reports from last night, there are allegations against Tom Brokaw, made by a former NBC News journalist, which Tom emphatically denies. As we’ve shown, we take allegations such as these very seriously, and act on them quickly and decisively when the facts dictate."

Read Brokaw's full email at The Hollywood Reporter.

SEE ALSO: Former NBC newsman Tom Brokaw accused of sexual misconduct

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• As "Avengers: Infinity War" comes to theaters this weekend, MoviePass just delivered what could be a big setback to its subscribers: new and old subscribers are no longer able to see the same movie more than once with the service. 
• It's the latest departure from MoviePass' typical offering.
• The company also recently capped the number of movies new subscribers could see a month at four instead of one movie per day.

MoviePass just delivered what many could find a huge setback, especially as "Avengers: Infinity War" comes to theaters this weekend: subscribers are no longer allowed to see the same movie more than once in theaters with the service.

When Business Insider checked the MoviePass app Friday, we were greeted with a notification that "subscribers are not permitted to see the same movie more than once in theaters."

MoviePass updated its Terms of Use Friday to reflect the change, stating in all caps: "THE SERVICE PROHIBITS REPEAT VIEWINGS OF THE SAME MOVIE."

This is another huge departure from what the service has typically offered. The company also recently capped the number of movies new subscribers were able to see a month at four, instead of the movie-a-day plan. MoviePass CEO Mitch Lowe told The Hollywood Reporter he didn't know if the movie-a-day plan would ever return.

The only plan MoviePass currently offers new subscribers is a bundle that includes four movies a month in theaters and a trial of iHeartRadio All Access, for $29.85 for three months. Subscribers will be billed at that rate every quarter.

Lowe told THR that "there’s like 100 new features we’re working on," including potential premium plans for 3D and IMAX movies that have always been restricted on the services.

But these new strategies — capping the number of movies and forbidding repeat viewings — could also reflect the company's financial situation.

Earlier this month, the auditor for MoviePass' parent company, Helios & Matheson Analytics, said it had "substantial doubt" about the company's ability to stay in business, and Helios & Matheson disclosed that it was losing money on every MoviePass subscriber. 

SEE ALSO: MoviePass has capped its plan for new subscribers at 4 movies a month — and its CEO doesn't know if the old plan will return

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Destiny — from Bungie, the original makers of Halo — has been one of my favorite games to play over the past several years.

I poured over 700 hours into the first Destiny. But I've spent much less time in Destiny 2, which has been heavily criticized by many of the game's biggest fans and hardcore players since its September release.

Thankfully, though, Destiny 2 is starting to look up:

In Destiny, you are a Guardian, a protector of the Last City on Earth. The game gives you incredible weapons, abilities, and superpowers to wipe out hordes of evil aliens with friends or other strangers online.

The first Destiny game came out in 2014. It wasn't perfect, but it was incredibly addicting. It brought me closer with my older brother. And thanks to feedback from the game's community of rabid fans, Bungie kept improving the game every week and every month until it was vastly superior to the original product.

When Bungie announced Destiny 2 last May, fans assumed the game would be a slam dunk. Unfortunately, that wasn't the case in many fans' eyes (mine included).

• In an interview with Business Insider, Netflix CEO Reed Hastings called the dark comedy "The End of the F---ing World" his favorite recent Netflix original series.
• "'The End of the F---ing World.' Just because it's different. It's like something that I've never seen before," Hastings said, when asked to name his "favorite show from the last few months."
• Hastings previously praised the show in advance of its January release, writing in a Facebook post that the series was Netflix's "most engaging addictive original wild show in a long time."

Netflix CEO Reed Hastings sat down with Business Insider Poland's Adam Turek in Rome this week to discuss a few recent developments for the company, including its new partnership with the European cable network Sky and its decision to pull out of the Cannes Film Festival.

In the interview, Hastings also talked about what he called his favorite recent Netflix original series, "The End of the F---ing World," a critically acclaimed dark comedy about two runaway teens in England. 

"'The End of the F---ing World.' Just because it's different. It's like something that I've never seen before," Hastings said, when asked to name his "favorite show from the last few months."

"You really don't like the characters at the beginning - at least I didn't like them," he continued. "They were weird. And then you really start to grow into liking them - and at the same time, they grow into liking each other."

The debut season of "The End of the F---ing World" earned laudatory reviews and a 98% "Fresh" rating on Rotten Tomatoes. The Atlantic called it "a surprising tour de force."

Hastings also praised the series in advance of its release in January, writing in a Facebook post that "The End of the F---ing World" was Netflix's "most engaging addictive original wild show in a long time."

Hastings previously listed the Netflix animated comedy "BoJack Horseman" as his favorite original series in 2015. 

Read the full Reed Hastings interview here.

SEE ALSO: MoviePass subscribers are no longer allowed to watch the same movie more than once

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The spring TV season is well underway, and some fan-favorite shows are returning with new seasons next month.

To find out which returning shows audiences are anticipating the most, the TV tracking app TV Time analyzed data from its 2.1 million global users to see which upcoming TV shows viewers had followed the most frequently on its platform.

The list includes the upcoming seasons of Netflix's sitcom "Unbreakable Kimmy Schmidt" and the USA Network's science-fiction drama, "Colony."

Here are the 5 returning TV shows that viewers are anticipating the most in May, according to TV Time:

SEE ALSO: The 5 most anticipated new TV shows premiering in May

5. "SIX" (Season 2) — Premieres May 28 on The History Channel

Summary: "The ten-episode second season of 'SIX' follows Navy SEAL Team Six in a mission to destroy the terrorist network responsible for the shooting of their former team leader Richard “Rip” Taggart (Walton Goggins)." 

4. "Animal Kingdom" (Season 3) — Premieres May 29 on TNT

Summary: "The series following a Southern California crime family stars Ellen Barkin as the matriarch of the Cody clan, Scott Speedman as her second in command and Shawn Hatosy as her volatile, mentally unstable eldest son."

3. "Colony" (Season 3) — Premieres May 3

Summary: "Set in the near future, 'Colony' centers on a family who must make difficult decisions as they balance staying together with trying to survive."

• Following a much-publicized bromance, President Donald Trump is now reportedly considering inviting the rapper Kanye West to dinner at the White House.
• West began posting messages and photos to Twitter this week showcasing his support for Trump, claiming that he and Trump share a "dragon energy."
• Trump and his family members responded by thanking West, praising him, and complimenting his "great service to the Black Community."

The public bromance that blossomed this week between President Donald Trump and the rapper Kanye West could extend to an invitation for the outspoken pair to spend time together at the White House, The Daily Beast reported Friday.

According to the report, Trump has asked aides and associates whether he should invite West over to the White House for an Oval Office photo-op or for dinner.

One source told The Daily Beast they could not tell if Trump was joking or not.

West began posting Twitter updates about his support for Trump on Wednesday. One of the posts featured a photo of him in a "Make America Great Again" hat signed by Trump. West claimed in another tweet that he and Trump share a "dragon energy."

Trump thanked West in a tweet Friday, praising his "great service to the Black Community."

Trump's eldest daughter and adviser, Ivanka Trump, also weighed in, quoting West's tweet and adding the hashtag #truth.

West's posts sparked controversy across Twitter, leading to a series of high-profile figures unfollowing him and messages from fellow artists like John Legend urging West to rethink his support of Trump.

The reality TV star Kim Kardashian, who is married to West, weighed in on the controversy amid the criticism.

"To the media trying to demonize my husband let me just say this... your commentary on Kanye being erratic & his tweets being disturbing is actually scary," Kardashian tweeted. "So quick to label him as having mental health issues for just being himself when he has always been expressive is not fair."

Trump's eldest son, Donald Trump Jr., subsequently quoted Kardashian's comments and added the hashtag #ImWithHer, in an apparent reference to former Democratic nominee Hillary Clinton's 2016 campaign slogan.

Trump and Kanye have commented on each other in the past, and West proclaimed during a 2016 concert that if he had voted, he would have cast a ballot for Trump. Shortly after the concert, West abruptly cancelled the rest of his tour due to exhaustion. 

The took their friendship public at a 2016 meeting at Trump Tower where it was reported they discussed "life."

SEE ALSO: Kanye West appears to have lost 9 million followers for supporting Trump — but here's what actually happened

DON'T MISS: Trump says Kanye West has ‘performed a great service to the black community’ as Twitter bromance escalates

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• Director Antoine Fuqua spoke to Business Insider before revealing footage of "The Equalizer 2" at CinemaCon on Monday.
• The movie marks the first time both he and the movie's star, Denzel Washington, have ever made a sequel.
• Fuqua also gave his thoughts about President Trump's remarks after the Parkland school shooting that movie violence is to blame for school shootings.
• And the director addressed the reports that he's in talks to direct a reboot of the Brian De Palma classic, "Scarface."

Antoine Fuqua has pulled off something no other director working with Denzel Washington has done before: getting him to do a sequel.

“The Equalizer 2” (in theaters July 20) marks not just the first-ever sequel done by Fuqua, but also Washington. The two have worked on numerous projects, from “The Magnificent Seven” reboot to Washington’s Oscar-winning performance in “Training Day.” But it’s Sony’s unlikely hit thriller about a man (Washington) with a mysterious past who disrupts his quiet life to rescue a girl that the two felt was fertile ground to continue with a sequel.

Before Fuqua presented footage of the movie at CinemaCon in Las Vegas on Monday, Business Insider sat down with him (in a backstage room with the film’s producer Jason Blumenthal), to talk about the movie, Trump, and if he’s going to direct the much-rumored “Scarface” remake.

Jason Guerrasio: This is the first time you and Denzel have ever done a sequel. What did Sony have to do to talk you guys into doing another?

Fuqua: It was a conversation that we had toward the end of making “Equalizer 1.” We had a lot of fun together just making the movie. All of us: me, Denzel, the producers. And we were talking about it and it's hard to talk about that stuff with Denzel because he just wants to make this one good. The one we're doing. But we were all kind of like, "Hey, if this works let's do it again." It came out and did well, the audience enjoyed it, and the guys went off to write another. And it wasn't that long, three months after the release.

Guerrasio: Wow, three months after it opened?

Fuqua: Yeah. They gave me the script and I read it and it was better than the first script and much more emotional and deeper. And it hit all the things that I think a lot of people wanted to see. When I would be in an airport people would ask, "Are we going to find out more about this or that?" And the script did those things. And when I read it, Denzel read it as well, and he called me and he said, "This is good!" And I was like yeah, and he said, "Let's do it again!" So that's how it worked.

Guerrasio: I would imagine this was not the first time a sequel to a movie you've done has been floated by you. What sequel pitches have you gotten in the past?

Fuqua:“Olympus Has Fallen,” they wanted me to do that, there were rumors about “Training Day" —

Guerrasio: How can you do “Training Day” again?

Fuqua: I think like a prequel. Yeah, it's been a few times. It’s just not exciting to me to do that really because you have already been down that road and it's rare to get someone like Denzel so you have got to make it right. The script has to be very different from the first one, and it has to be a character he wants to play again, but have enough differences that he feels like he's doing something else. He's an actor's actor, so for him, he's not doing the exact same thing. I can't even get the exact same take. So you think he's going to do a movie twice? [Laughs.]

Guerrasio: I’m thinking about your filmography now, you could probably do another “Magnificent Seven.”

Fuqua: Yeah. I would love to do another one. That's not up to me but I would love to do one. With the right actors. Because that's tricky. You have to get all those guys’ schedules on the same page at the exact same time.

Guerrasio: And do audiences still want to see Westerns?

Fuqua: It's tricky. You never know. The audience sometimes will surprise you. It's timing. You think you know and then the next Western comes out and makes a billion dollars.

Guerrasio: The only thing that will make me disappointed is Vincent D’Onofrio will not be in it. Because he was so entertaining in that movie.

Fuqua: We do it as a prequel. You see what happens? You got the opportunity to do a movie with a great actors and then you kill them off, how do you do another one? [Laughs.]

Guerrasio: I don't want you to give anything away about “Equalizer 2,” but in the trailer there's a shot of Denzel telling a guy to do the Vulcan salute from “Star Trek” and then breaking his fingers when the guy shows him the salute.

Fuqua: That's all Denzel.

Guerrasio: He came up with that?

Fuqua: He did that. That's the fun of it. He's not going to say the exact same line every time the exact same way. Someone on that level, you have to have some fun with it.

Guerrasio: Almost all of your movies deal with gun violence. It's a topic that's big again in society because of the Parkland school shooting. But when you hear President Trump say that school shootings are due to the violence kids see in movies, how do you react to that?

Fuqua: I’m not into politics, I'm a father. I'll say that first. I grew up watching movies — Westerns, war movies, gangster movies, comedies. But are movies the reason people are shooting and killing each other? I don't think so. I would hate to think that's true in any way. We've been making movies since, what —

Guerrasio: Over 100 years.

Fuqua: It seems it's something that's been happening more and more recently, so it's hard to blame something like that on movies. When the president says something like that it's sad because I don't think you should put the blame on one thing. It's all of our problem, not just movies.

Guerrasio: What you see in society, does that affect what stories you want to tell going forward?

Fuqua: It does. That's why I wanted to do “Equalizer.” Because “Equalizer” is about justice. You talk about gun violence, yeah, of course, I'm tired of seeing young black men get shot down in the street like animals. I'm tired of seeing anybody get shot down in the street. Especially innocent people. So you can make a movie with a positive use as well. If you put it in the hands of the right people: Air Force, military, Navy, Navy Seals, Marines, and I'm friends with a lot of these guys and I'm friends with a lot of cops, too. Thank God they are there when you need them, strapped. What I'll say is when you make a movie you have to have a reason you want to make it. I wanted to make “Equalizer” because it's about justice and I think that's the thing we all want. When you see young people die it's heartbreaking, but as a director you can only do a movie to say something. You could get involved with politics if you want to, but I'm not a politician.

Guerrasio: I want your take on the inclusion rider that's been a buzz term since Frances McDormand brought it up at the Oscars. As one of the few African-American directors working regularly in Hollywood currently, do you use that? Do you want to use it more?

Fuqua: I don't know.

Jason Blumenthal: It hasn't been an issue with Antoine, to be honest. We know he wants a very diverse and eclectic group of people around him as a filmmaker. He thrives on that. So we run these colorblind sets. And just so you know, the inclusion rider wasn't even a thing when we shot this movie. Denzel has also been big on that with us, too. He's always wanted us to give people a shot. He's never said, "Give the black guy a shot."

Fuqua: Denzel says, "Give the woman a shot."

Blumenthal: It comes from the top down, so if we weren't running an inclusive set and Antoine and Denzel said we better do that it's going to happen because it needs to happen. But it's been happening with our movies for the last five to six years.

Fuqua: We just do it. There's not really a conversation. We do what's right and who's the best person for the job. And we help bring people up along the ranks as well.

Guerrasio: So I know you're working on a Muhammad Ali documentary.

Fuqua: Yeah.

Guerrasio: After that, are you taking on the “Scarface” reboot?

Fuqua: I don't know. We are still finishing up “Equalizer 2.” Editing a little bit, shaping here and there. Not a lot. The music and all the final stuff we have to do. We did a test last week and it scored through the roof. Scored a little higher than the first one. So “Scarface, “I don't know, man. When I get the script.

Guerrasio: That's such a classic film that if it's going to be attempted I assume, if you were to take it on, you would do it completely different than Brian De Palma's.

Fuqua: Very different.

Guerrasio: Like how De Palma's is completely different from the 1932 original movie.

Fuqua: Exactly. You have to. And you have to find the reason to make it, any movie. I have to find my reason to make the movie. So “Scarface” is one of those movies that I've been talking to the writer and different people about it and I know a lot about that world, it's just making sure when I get the script it's the right reason to make “Scarface.” In today's society everyone feels injustice like Tony Montana. Everyone feels like they are the small guy.

Guerrasio: And hustling to make a better life.

Fuqua: The hustle. So the feeling of that is in the air and coming back to “Equalizer” that's what's important about doing that. It's about justice. When I did “Training Day” it was about street justice. So it always comes back to justice, so I have to figure out what “Scarface” is about for me.

Guerrasio: You're doing “Scarface.”

Fuqua: [Laughs.] 

SEE ALSO: The 32 movies coming out this summer you can't miss

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• Despite being very similar games in concept, "PlayerUnknown's Battlegrounds" ("PUBG") and "Fortnite: Battle Royale" are very different to play.
• Due to its cartoon art style and less serious tone, many players consider "PUBG" to be the more challenging game.
• The world's most popular "Fortnite" streamer (and former "PUBG" streamer), Tyler "Ninja" Blevins, said "Fortnite" requires "more skill" in a recent interview.

Like Super Mario and Sonic the Hedgehog before them, "PlayerUnknown's Battlegrounds" ("PUBG") and "Fortnite" are currently battling for title of biggest game in the world. Both games center around the same core concept: 100 people fighting to the death in an ever-shrinking island.

Beyond the two games competing for players, devotees of each are debating which is the better game, and the number one argument is related to skill.

The argument goes something like this: Since "PUBG" is more focused on shooting, and intends to more seriously model real shooting, it's the more difficult game to play. "Fortnite," in this argument, is the watered-down, "for babies" version of "PUBG."

Twitch streaming star Tyler "Ninja" Blevins, the guy who's making at least $500K every month streaming "Fortnite" for thousands of people, disagrees.

"A lot of people are like, 'PUBG' requires so much more skill because there's no building," Blevins said on a recent episode of the H3 Podcast. "Exact opposite."

Blevins knows a little something about this — he's a longtime professional gamer who spent loads of time playing "PUBG" before switching over to "Fortnite." He breaks down the situation as such:

"If someone in 'PUBG' sees you from a mile away with a 15x scope, they can hide in a building and kill you. It's not difficult to shoot a gun and hit somebody. Gun skill is never the main reason why someone is talented at a game. It's literally their decision making."

Both "Fortnite" and "PUBG" follow the same formula of pitting 100 players against each other on an island that's shrinking in size. The main difference with "Fortnite" is that there's a construction aspect — you can build structures (or destroy structures) on the fly.

As such, a crucial aspect of defense is building structures to protect your character from enemy fire.

Rather than making the game easier, Blevins argued, it makes the game far more demanding. "The shooting is not the difficult part — it's building," he said. "You'll find that there aren't that many talented players in every game, so if you just build simple structures you can win."

Not that he dislikes "PUBG," of course, nor is he saying it's a simple game. "The game does obviously require talent, but less in my opinion," he said.

Check out the full interview on The H3 Podcast right here:

SEE ALSO: This 26-year-old makes $500,000 every month playing 'Fortnite' in his bedroom — here's how he does it

DON'T MISS: 7 reasons you should play PlayerUnknown's Battlegrounds, or PUBG, instead of Fortnite

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• Comedian Michelle Wolf delivered a searing, cringeworthy monologue at the White House Correspondents' Dinner on Saturday night.
• President Donald Trump skipped the event to host a wild rally in Washington Township, Michigan.
• A few of his staff were there, and many former White House staffers were in the audience, too, making for uncomfortable moments when Wolf insulted people in the room, including press secretary Sarah Huckabee Sanders.

If President Donald Trump isn't comfortable being the target of jokes, comedian Michelle Wolf gave him and others plenty of reasons to squirm Saturday night.

"It's 2018 and I'm a woman, so you cannot shut me up," Wolf cracked, "unless you have Michael Cohen wire me $130,000. Michael, you can find me on Venmo under my porn star name Reince Priebus."

No, Trump's personal attorney wasn't there. And, for the second year, Trump himself skipped the annual dinner of the White House Correspondents' Association, preferring to criticize journalists and others during a campaign-style rally near Detroit.

Wolf, the after-dinner entertainment for the White House press corps and their guests, was surprisingly racy for the venue and seemed more at home on HBO than C-SPAN.

After one crass joke drew groans in the Washington Hilton ballroom, she laughed and said, "Yeah, shoulda done more research before you got me to do this."

As he did last year, Trump flew to a Republican-friendly district to rally supporters on the same night as the dinner. In Washington Township, Michigan, the president assured his audience he'd rather be there than in that other city by that name.

"Is this better than that phony Washington White House Correspondents' Dinner? Is this more fun?" Trump asked, sparking cheers.

"I could be up there tonight, smiling, like I love where they're hitting you, shot after shot. These people, they hate your guts ... and you've got to smile. If you don't smile, they say, 'He was terrible, he couldn't take it.' And if you do smile, they'll say, "What was he smiling about?'"

Wolf's act had some in the audience laughing and left others in stony silence. A blistering critique of press secretary Sarah Huckabee Sanders, who was seated just feet away, mocked everything from her truthfulness to her appearance and Southern roots.

"I actually really like Sarah. I think she's very resourceful. But she burns facts and then she uses that ash to create a perfect smokey eye," Wolf said. "Like maybe she's born with it, maybe it's lies. It's probably lies."

Among Wolf's less off-color one-liners:

• "Just a reminder to everyone, I'm here to make jokes, I have no agenda, I'm not trying to get anything accomplished, so everyone that's here from Congress you should feel right at home."
• "It is kinda crazy that the Trump campaign was in contact with Russia when the Hillary campaign wasn't even in contact with Michigan."
• "He wants to give teachers guns, and I support that because then they can sell them for things they need like supplies."
• "You guys are obsessed with Trump. Did you used to date him? Because you pretend like you hate him, but I think you love him. I think what no one in this room wants to admit is that Trump has helped all of you."

The dinner once attracted Oscar winners and other notable performers in film and television as well as celebrities in sports and other high-profile professions.

The star power dimmed appreciably last year when the famously thin-skinned Trump, who routinely slammed reporters as dishonest and their work as "fake news," announced he wasn't attending. He was the first president to skip the event since Ronald Reagan bowed out in 1981 as he recovered from an assassination attempt (Reagan still called in).

Trump weighed in on Twitter Sunday morning: "While Washington, Michigan, was a big success, Washington, D.C., just didn’t work. Everyone is talking about the fact that the White House Correspondents Dinner was a very big, boring bust...the so-called comedian really 'bombed.'"

Sanders, Conway, and Avenatti were there

Unlike last year, when Trump aides also declined to attend, the Trump White House had its contingent, including counselor to the president Kellyanne Conway and Commerce Secretary Wilbur Ross.

Former administration officials were on hand, such as onetime press secretary Sean Spicer, ex-chief of staff Reince Priebus, former chief economic adviser Gary Cohn and political aide Omarosa Manigault-Newman.

At least one Trump antagonist attended — porn star Stormy Daniels' attorney Michael Avenatti, who tweeted that he and Conway had a "spirited discussion." And there was comedian Kathy Griffin, who last year posted controversial video of herself holding what appeared to be Trump's bloody head; she later apologized.

Watch Wolf's full performance below:

SEE ALSO: Trump goes off-script at wild rally in Michigan, while the press party at the White House Correspondents' Dinner in DC

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• The wedding of Prince Harry and Meghan Markle will begin at midday (UK time) at St George's Chapel, Windsor Castle on Saturday, May 19.
• At 1 p.m. the newly married couple will embark on a carriage procession through Windsor Town.
• An early afternoon reception hosted by Her Majesty the Queen will follow at St George's Hall for the couple and guests from the congregation.
• Around 200 guests have also been invited to an evening reception at Frogmore House in the evening, hosted by Prince Charles.
• Kensington Palace has confirmed that Prince William will be Harry's best man.
• Scroll down to see what time the celebrations will start where you live and how you can watch it both in the UK and from abroad.

All eyes have been on the Duke and Duchess of Cambridge this week as they introduced their new baby boy, Louis Arthur Charles, to the world. But now Prince Harry and Meghan Markle are likely to return to the spotlight as the countdown to their royal wedding begins.

As the public eagerly awaited the announcement of the youngest Prince's name, Kensington Palace revealed that Harry has asked his older brother William to be his best man.

It's been reported that the Duke of Cambridge will miss this year's FA Cup final which falls on the same day, which, as president of the Football Association he was expected to attend. In order to make both he'd have had to leave the wedding reception early, The Guardian reports.

The wedding will be held at St George's Chapel, Windsor Castle on Saturday, May 19.

The day will begin at midday (UK time) with a service conducted by the Dean of Windsor, and the Archbishop of Canterbury will officiate as the couple make their vows.

Here's an outside look at the Chapel...

...and here's a glimpse inside.

At 1 p.m. Harry and Meghan will embark on a carriage procession from St George's Chapel through Windsor Town returning to Windsor Castle along the Long Walk, which will offer some members of the public a glimpse of the newly married couple.

They've invited over 2,000 members of the public into the grounds of Windsor Castle to watch the couple and their guests arrive, and to watch the carriage procession as it departs from the castle.

The Queen will host an early afternoon reception at St George's Hall for the couple and guests from the congregation, of which there are expected to be around 600 guests.

Here's a photo inside St George's Hall:

Around 200 guests have also been invited to an evening reception at Frogmore House in the evening, hosted by Prince Charles.

It's not yet known exactly which celebrities are invited to the wedding, although the palace announced there would not be an official list of political leaders in attendance— meaning British Prime Minister Theresa May won't be there — despite the fact that her predecessor David Cameron attended Kate and William's wedding in April 2011.

What time does it start where I am?

If you want to mark it in your diary, here's what time the royal wedding will start in major cities across different time zones on Saturday, May 19:

• London (BST) 12 p.m.
• Paris (CEST): 1 p.m.
• Moscow (MSK): 2 p.m.
• Tokyo (JST): 8 p.m.
• Sydney (AET): 9 p.m.
• Honolulu (HAST): 1 a.m.
• Los Angeles (PT): 4 a.m.
• Las Vegas (PT): 4 a.m.
• Denver (MT): 5 a.m.
• Chicago (CT): 6 a.m.
• New York (ET): 7 a.m.
• Seoul (KST): 8 p.m.

How can I watch it?

UK

BBC, ITV, and Sky News, will all be covering the big day.

US

Live coverage will be available on CBS, streamed on CBSN, The Today Show (NBC), PBS, and BBC America, according to Harper's Bazaar.

Australia

Channel Nine will air the wedding, Marie Claire reports.

South Africa

ITV Choice (DStv 123), according to Times Live.

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• Reports indicate YouTube will make another attempt at creating a paid music service to compete with Spotify and Apple Music.
• Previous YouTube subscription services were uninspired and never made much impact.
• Analysts say that's because there's no motivation for Google to "put its shoulder" into a paid service when there's so much money in ads.
• Some music industry big shots say YouTube is doing more to improve the relationship with the music industry.

YouTube plans to launch yet another "Spotify-killer" music streaming service at its annual Google I/O developer conference, according to reports. If history is any guide, we shouldn't expect much in the way of innovation from the new paid service, or more importantly, anything too disruptive.

Back in December, Bloomberg reported that YouTube and parent company, Alphabet Inc., planned to launch the site in March. A more recent report from Droid Life says that a new service, perhaps called "YouTube Remix," will debut around May 8, when Google's developer conference gets under way. A YouTube spokesperson did not respond to a request for comment.

Regardless of when the new service arrives, we've seen this scenario play out before. Following tense licensing negotiations with the music industry, YouTube and parent company Google typically make a series of concessions. These usually include YouTube agreeing to launch a new service supposedly designed to persuade users to pay for songs.

Then, the service promptly falls behind the sector's leaders, Spotify and Apple, languishing there until the next round of negotiations. Meanwhile, YouTube, the world's most popular source of music, continues to rumble on, banking big ad dollars. 

Google Play Music came along first, in 2011. Then YouTube Music Key emerged in 2014, which was turned into YouTube Red. That service is still around and offers an ad-free experience, for music as well as any other kind of YouTube video. Not one of these services has done much to challenge Spotify as the leader in the space, multiple music industry sources say.

One reason the music sector is so keen on transforming YouTube into a paid music service is that after a long dry spell Spotify, Apple and other subscription sites are leading a modest revival.

The International Federation of the Phonographic Industry said global music revenues rose by 8% in 2017. That's the third year of positive growth after a staggering 15-year run of declines. Still, to expect YouTube to "put its shoulder" into creating a legitimately competitive paid music service is senseless, said Mark Mulligan, director of MIDiA Research and a longtime digital-music analyst.    

"[The record labels] say 'Look, you got to be in the subscription business,' even though the subscription business is a complete contradiction to YouTube's core business," Mulligan said. "YouTube makes money by selling advertising and advertisers want to reach the best consumers. So, if you go and lock the best consumers behind a [paywall] you're diminishing your core product and the core product is a high margin product."

Mulligan said that whatever music service may come out of I/O, he thinks it's "going to be a continuation of the same thing."

The upcoming service certainly doesn't sound very different, judging from Bloomberg's story. Quoting unnamed sources, the news agency reported that it would offer "Spotify-like on-demand streaming and would incorporate elements from YouTube, such as video clips."

At stake for the big music labels is more than the money that a YouTube paid service might generate. If YouTube doesn't wall off some of its free music content, then users have no motivation to ever pay either YouTube or Spotify. The labels have long accused YouTube's ad-supported, free-to-listen business of stymieing growth to paid music services, which are more lucrative for them.

For years, the labels have tried to force YouTube to pay more to license music. They argue that the site pays too little, relative to the size of its audience. Typically, the big music companies find themselves in a weak negotiating position because of copyright law.

YouTube is protected from liability for infringement committed by users. This means that if the labels don't license the music to YouTube, the site's users will just post videos themselves to the site. Then, the labels must go through an arduous, and costly process to remove the clips. 

The big record companies have long claimed that YouTube exploits this during licensing talks. They say YouTube's leaders adopt a take it or leave it approach. If the labels don't accept YouTube's offer, the site's managers tell them they can remove their videos and then try policing the site for pirated songs, according to the labels. Executives from the record companies say they have learned that licensing YouTube -- even at below-market rates --makes more sense.

But the record companies may have a little more leverage now. The European Union is trying to determine whether negotiations over licensing fees between artists and YouTube-esque sites are too one-sided in favor of the sites. Under a proposed plan that is due to be voted on later this year, YouTube could eventually be forced to fork over more money.

Any decision in Europe would only affect YouTube there, but it would create an unfavorable precedent. Judging from the far less combative language coming from music industry leaders, YouTube is coming around, at least a little.

"I feel that YouTube is starting to make more of an effort with the music industry," said David Israelite, President and CEO of the National Music Publishers’ Association, who has been one of YouTube's chief critics. "But they still have a long way to go with the actual royalties they pay. What’s most important is fair compensation."

But Mulligan, the analyst, says that by forcing YouTube to be something akin to a retailer is a missed opportunity.

"Sooner or later, the music industry must realize YouTube plays a massively important role," he said. "And its role is the future of radio, not the future of Tower Records."

SEE ALSO: Spotify said it now has 70 million subscribers

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