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Emilia Clarke wrote an emotional message to the 'Game of Thrones' family she will 'never stop missing'

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Daenerys Targaryen Missandei Game of Thrones Macall B. Polay

  • "Game of Thrones" star Emilia Clarke posted an emotional goodbye to her "family" from the show on Instagram Tuesday.
  • Clarke said goodbye to the land that's been her "home away from home" for nearly a decade. 
  • Clarke didn't confirm whether or not she's done filming for good.
  • "Game of Thrones" returns for its final season in 2018. 

After almost a decade working on the show, "Game of Thrones" star Emilia Clarke wrote an emotional goodbye to the "Game of Thrones" family. 

"Hopped on a boat to an island to say goodbye to the land that has been my home away from home for almost a decade," Clarke wrote. "It’s been a trip @gameofthrones thank you for the life I never dreamed I’d be able to live and the family I’ll never stop missing #💔#lastseasonitis."

It's not clear whether this means Clarke is completely finished filming season 8, but it likely means she is finished shooting on location.

Clarke joined the cast of "Game of Thrones" in 2010, and it has dominated her career ever since. Originally the role of Daenerys Targayren was given to another actress, Tamzin Merchant, but Merchant was replaced by Clarke for undisclosed reasons. 

Over the years, Clarke has recieved high praise for her performance on "Game of Thrones," including three Emmy nominations for best actress in a drama series. Clarke is, along with others in the "Game of Thrones" cast, reportedly one of the highest paid actors in television ever, making about $2 million per episode for season 8. 

Unfortunately, whether Clarke has completed filming for season 8 doesn't give us any clues about when the final season will premiere on HBO. At this point, all we know is that it returns some time in 2019, presumably spring like the first 6 seasons. 

Here is Clarke's Instagram post:

 

SEE ALSO: Netflix's new romantic comedy 'Set It Up' has charmed audiences and critics, and has a 92% on Rotten Tomatoes

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NOW WATCH: A Navy SEAL explains why you should get up at 4:30 am every day


How playing video games affects your body and brain

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Fortnite: Battle Royale

Video games are one of the most popular and commonly enjoyed forms of entertainment of our time, yet there's a lot of controversy around them.

The World Health Organization recently decided to add "gaming disorder" to its official list of mental health conditions, stating that gaming behavior could qualify as problematic if it interferes significantly in other areas of people's lives.

Some people have also suggested there are links between playing video games and violent behavior, especially in the wake of tragic events like the school shooting in Parkland, Florida.

"I'm hearing more and more people say the level of violence on video games is really shaping young people's thoughts," President Donald Trump said after the Parkland shooting.

President Obama had similar questions after the Sandy Hook school shooting in Newton, Connecticut.

"Congress will fund research into the effects that violent video games have on young minds," he said at the time (while also calling for policies that would ban the purchase of military-style weapons and improve background checks for firearm purchases in order to curb gun violence).

But many other people have pointed out that some types of games offer benefits, including the potential to improve people's ability to pay attention and process visual information.

For all of these reasons, people have lots of questions surrounding what science says about the effects of video games. Do games cause violence or aggression? Are they addictive? Are they healthy ways to relax and de-stress? Could they improve brain processing speed?

Similar questions have arisen after every new form of media appeared — including television, movies, pop music, comics, and even books.

Fortunately, there's a fair amount of research that about how video games affect our brains and bodies. Here are the most important takeaways.

SEE ALSO: 14 of the biggest myths about sleep, debunked

Many kids and adults play video games — they're not just of interest to young men.

According to the Entertainment Software Association's (ESA) 2017 survey:

  • 65% of households have at least one member who plays games three hours a week or more, and the average gamer is 35 years old.
  • Of the "gaming" population, there are more adult women (31%) than boys under 18 (18%).
  • Of people who play video games, 59% are male and 41% are female.


Some researchers are concerned that excessive game playing could be a form of addictive behavior, though this is controversial.

The World Health Organization recently decided to add "gaming disorder" to its list of mental health conditions in the update of the International Classification of Diseases (ICD), released June 18

The definition of the condition states that gaming behavior could be a disorder if it meets three characteristics: if a person loses control over their gaming habits, if they start to prioritize gaming over many other interests or activities, and if they continue playing despite clear negative consequences.

This would put gaming on a similar level as other behaviors that can become problematic if people lose control over them, though the concept of behavioral addiction is controversial in the first place.

Some researchers are uncertain about calling gaming "addictive," since problematic gaming may in some cases serve as a dysfunctional coping mechanism for people struggling with depression or anxiety.



Some studies link playing violent games to slight increases in aggression — though aggression is not the same as violence.

One review of research by the American Psychological Association found that people who played violent video games were very slightly more likely to engage in aggressive behavior (actions like playing a loud sound that people they were competing against could hear over an audio system). However, the APA said playing games was not enough to cause aggression.

Other studies have found no link between game violence and violent or aggressive thoughts. Some researchers, like APA member Chris Ferguson, have even disputed findings connecting games to aggression, saying many of the studies that drew such conclusions had methodological problems.

Either way, aggressive behavior is not the same as violence.



See the rest of the story at Business Insider

Netflix's 8 original romantic movies, ranked from worst to best by critics

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set it up netflix

In an age when major film studios have practically killed off the once-thriving genre of romantic comedy, Netflix has been steadily filling a niche by producing original romantic comedies and dramas.  

Netflix's latest romantic film, the rom-com "Set It Up," got an enthusiastic reception from critics and audiences around its release this week.

To find out which of Netflix's original romantic movies have received similar or lesser acclaim, we turned to the reviews aggregator Rotten Tomatoes to rank each release by its critic score.

We excluded Netflix original romantic films that didn't have enough reviews to receive a designation of "fresh" or "rotten" on the site.

Here are eight of Netflix's original romantic films, ranked from worst to best according to critics:

SEE ALSO: 12 fan-favorite shows Netflix has revived or rebooted, ranked from worst to best

8. "The Kissing Booth" (2018) — 17%

Critic score: 17%

Audience score: 71%

Netflix description: "When teenager Elle's first kiss leads to a forbidden romance with the hottest boy in high school, she risks her relationship with her best friend."



7. "When We First Met" (2018) — 39%

Critic score: 39%

Audience score: 60%

Netflix description: "Using a magical photo booth that sends him back in time, Noah relives the night he met Avery over and over, trying to persuade her to fall for him."



6. "Christmas Inheritance" (2017) — 60%

Critic score: 60%

Audience score: 33%

Netflix description: "To inherit her father's company, socialite Ellen must first visit his small hometown, where she learns the value of hard work and helping others."



See the rest of the story at Business Insider

Hollywood stars 'embarrassed' to work for Fox after Fox News coverage of immigration

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seth macfarlane

  • Fox-associated creators have spoken out against Fox News and its parent company over Fox News' coverage of President Trump's "zero-tolerance" immigration policy that separates children from their families who are crossing the border. 
  • Judd Apatow and Steve Levitan quickly followed Seth MacFarlane in condemning Fox.
  • On Tuesday, Ben Wexler and Paul Feig joined in, as well.

 

It started with a Seth MacFarlane tweet condemning 20th Century Fox and Fox News.

But more people who are currently or formerly associated with Fox are joining the sharp rebuke of the conservative news network and its parent company for the network's defense of the Trump administration and its immigration policies. They include Judd Apatow; "Modern Family" co-creator Steve Levitan; Ben Wexler, who has produced multiple Fox TV shows; and "The Heat" and "Spy" director Paul Feig.

MacFarlane, the creator of Fox broadcast network's "Family Guy," tweeted on Saturday that he was "embarrassed to work" for Fox. The comment was in response to CNN's Brian Stelter, who tweeted that Fox News host Tucker Carlson told his viewers not to believe other news outlets. 

MacFarlane quoted Stelter's tweet and said, "In other words, don’t think critically, don’t consult multiple news sources, and in general, don’t use your brain. Just blindly obey Fox News. This is fringe s---, and it’s business like this that makes me embarrassed to work for this company."

Levitan quoted MacFarlane's tweet on Sunday and said, "I couldn't agree more." Levitan's "Modern Family" is produced by 20th Century Fox's TV division.

Levitan then "officially" joined MacFarlane on Monday in condemning Fox, tweeting that he was "disgusted to work at a company that has anything whatsoever to do" with Fox News.

He later tweeted that conservative commentator Ann Coulter was "the face of pure evil" after she falsely referred to immigrant children being separated from their parents at the border as "child actors" while appearing on Fox News.

Apatow also spoke up on Monday. Apatow, the director of comedy hits like "The 40-Year-Old Virgin" and "Knocked Up," said that he hasn't worked at Fox since 2002, likely referring to the comedy series he created called "Undeclared," which lasted one season on the Fox network. He then went on to condemn the company and Fox News.

"That family [the Murdochs] promotes evil ideas and greed and corruption. We all choose who to work with. I understand why that is easier for some than others but many powerful people are powerful enough to speak up to their bosses at a moment like this," Apatow replied.

Since then, Apatow has been on a Twitter spree, condemning Fox for its coverage of President Trump's "zero-tolerance" immigration policy in tweets and retweets. 

"Not one new person who works for Fox or at Fox has spoken up strongly about their news channel supporting ripping families apart," Apatow later tweeted.

He also tweeted "Michael Tammero at Fox News is assisting kidnappers (The President and his administration) who are holding children for ransom. Who is he to criticize anyone? He IS the problem."

Producer Ben Wexler condemned Fox News on Tuesday, tweeting, "I’m starting to think trump could kill five (not six) million Jews and Fox News would be like 'Okay STOP with the Hitler comparisons!!'"

Wexler served as a producer on Fox TV shows "The Good Guys" and "The Grinder" as well as "The Comedians," which aired on Fox-owned network FX. He also produced Netflix's fourth season of "Arrested Development," which originally aired on Fox. 

Paul Feig also chimed in on Tuesday. Feig directed 20th Century Fox movies "The Heat" and "Spy."

Feig tweeted, "I have made two films for 20th Century Fox and love the people in the movie and TV divisions. But I too cannot condone the support their news division promotes toward the immoral and abusive policies and actions taken by this current administration toward immigrant children."

As more and more Fox-associated creators speak out against Fox News, the question is whether it will eventually lead them to seek work elsewhere.  

SEE ALSO: The official Twitter account of John Travolta's 'Gotti' movie lashed out at critics after its 0% score on Rotten Tomatoes

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Fender is renewing its commitment to budget-minded players with a revamped line of affordable electric guitars

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Melanie Faye Fender Player Stratocaster

  • Fender is continuing a revamp of its iconic guitars with new versions of its legendary made-in-Mexico instruments.
  • The Standard Series is being replaced by the Players Series.
  • The guitars cover the entire electric guitar and bass lineup and range in price from $650 to $775.

For guitar players, a chunk of wood at the top of their instrument matters. It's the headstock, and that's where the name of the guitar maker is found. 

Teenage musicians quickly learn the hierarchy: inexpensive, entry-level guitars dwell far below their far pricier counterparts. So begins the guitarist's march up the ladder. 

That process, however, has undergone some changes in the past decade, and one of the world's most famous purveyors of rockstar dreams, Fender, is smack in the middle of it.

The iconic manufacturer of Telecaster and Stratocasters is revamping its products and introducing new gear. The past year has seen a new range of acoustic guitars and Fender's first serious lineup of effects pedals. But the core stuff matters, too.

The modernization now continues with revisions to the former made-in-Mexico ("MIM," to the initiated) Standards, which are now "Players."

Fender's most affordable guitars are sold under its Asian-built Squier brand, and they have their fans. But if you want Fender script on the headstock — not to mention more intense investment in detail than you get with the MIM instruments — the Player roster is cause for rejoicing. 

The prices range from $650 to $775, and instruments cover the entire range, from the legendary Telecaster to Jazz basses. 

"The Player Series is an evolution of the highly successful Fender Standard Series," Fender CEO Andy Mooney said in an email.

"We upgraded this series to reflect the needs of contemporary players at an entry-level price point," he added. "Our mission at Fender is to support players at every stage."

A thorough revamp of one of Fender's best-value instruments

Fender Player Telecaster

At this point, Fender is covering a massive amount of sonic territory and addressing a wide variety of budgets. 

"Our highest specification and highest price models are built in Corona, CA, where we craft guitars in a price range from $1000 retail up to $500,000 retail for masterbuilt custom shop guitars," Mooney said.

"We offer lower specification, lower price guitars that are still very much true to the Fender brand from $500 retail to $1,000 crafted in Ensenada [Mexico]. We have increased production in both factories over the last three years and are working at capacity to keep pace with global demand."

Fender's US-made guitars are remarkable and a joy to play, but even inexperienced guitarists know that grabbing a MIM Stratocaster is never disappointing. In many respects, they're the true throwbacks to what founder Leo Fender had in mind when he created his first solid-body electric guitars decades ago: tough, versatile instruments for working musicians. 

A Player Series Strat, for example, will have all the essential, high-quality components and woods to deliver on a player's goals, albeit at a lower price point. A bedroom or basement player will have a sub-$1,000 guitar that they can enjoy for a lifetime, while a gigging artist won't have to worry about trashing their costly axe.

As Mooney pointed out, Fender has been building guitars for players of every purse and purpose for three decades. With the new Player Series, it proves that the company, started 72 years ago, is backing off of that commitment.

SEE ALSO: Fender has unveiled a lineup of acoustic guitars that electric players will love

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Jim Carrey's latest political drawing depicts Trump about to eat an immigrant baby

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Jim Carrey

  • Jim Carrey tweeted a drawing of President Trump about to eat an immigrant baby on Twitter on Tuesday.
  • The drawing mocks Trump's book "The Art of the Deal," calling it "The Art of the Meal."
  • It is a harsh rebuke of Trump's zero-tolerance immigration policy that separates children from their parents who are attempting to cross the border. 

 

Jim Carrey has taken his political drawings and criticism of President Trump to a new level.

In one of the actor and comedian's most scathing rebukes of Trump yet, Carrey tweeted a drawing on Tuesday that depicts Trump about to eat an immigrant baby. The drawing is a parody of Trump's book, "The Art of the Deal," which Carrey calls "The Art of the Meal." The drawing portrays Trump with fangs holding a baby's foot up to his mouth, about to "devour" it.

The caption reads: "'If the Democrats would just stop the Mueller investigation, build a wall, declare me a God and pass a special law allowing me to marry my hot daughter I wouldn’t have to devour these immigrant babies. It’s terrible what they’re doing. Obstructionists!'"

The drawing is a harsh commentary on the Trump administration's zero-tolerance immigration policy, which separates children from their parents who are attempting to cross the border into the US.

It's also Carrey's tenth political drawing this month, and it remains to be seen whether this one in particular will draw conservative backlash like other drawings have in the past. Carrey is regularly outspoken against Trump and Republicans, and frequently posts political drawings on Twitter that face criticism from conservatives. 

More on Jim Carrey:

SEE ALSO: Hollywood stars 'embarrassed' to work for Fox after Fox News coverage of immigration

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NOW WATCH: Trump pitched peace to Kim Jong Un with this Hollywood-style video starring Kim as the leading man

The New York Times said it was going to have Stephen Miller on its podcast to explain Trump's zero tolerance policy then bizarrely backed down

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Stephen Miller

  • On Monday, The New York Times said it was going to air an interview Tuesday with White House senior adviser Stephen Miller about President Donald Trump's "zero tolerance" immigration policy.
  • But on Tuesday's episode of "The Daily", they didn't air the interview.
  • Reporter Julie Davis said the White House was not "comfortable" with The Times using the audio from the interview on the podcast.

The New York Times backed down from airing an interview with White House policy adviser Stephen Miller on its hit podcast "The Daily" on Tuesday.

On Monday's episode, host Michael Barbaro teased that they were going to have Miller on Tuesday to explain President Donald Trump's "zero tolerance" immigration policy.

But on Tuesday, reporter Julie Davis said the White House was not "comfortable" with The Times using the audio from their West Wing interview with Miller on the podcast.

The purpose of the interview with Miller was to discuss the evolution of Trump's migrant family separation policy at the border, and his quotes appeared in a text story on Sunday. But Davis and the White House apparently did not discuss "alternative uses" for the interview.

"When [The White House] found out that [Miller's] voice was going to be on a podcast discussing this, they were not happy about it," Davis said. "So they asked us not to use it."

The Times' decision to not air the interview with Miller drew questions and criticism from many journalists on Twitter, including Washington Post media reporter Erik Wemple, who thought hearing Miller's voice "would have enhanced the production quite a bit."

"It appears that the @nytimes complied with the White House's insistence that Miller's voice not be used," Wemple tweeted, adding, "In the best of circumstances, the @nytimes would have apprised Miller that they wanted to use his voice in a podcast. That said, if the comments were on the record, the @nytimes can decide how to use it."

In a statement to Business Insider, The Times said the producers of The Daily decided they wanted to use the audio from the Miller interview after the text story was published.

"White House officials objected, saying that they had not agreed to a podcast interview," the statement read. "While Miller's comments were on the record, we realized that the ground rules for the original interview were not clear, and so we made a decision not to run the audio."

The Times reinforced that the substance of the interview with Miller was used in the original story and on Tuesday's podcast episode, just not the audio.

The White House did not respond when reached for comment.

SEE ALSO: A far-right darling in the White House was the one who convinced Trump the US should separate parents from their children at the border

DON'T MISS: Meet Stephen Miller, the 32-year-old White House adviser who convinced Trump to start separating migrant children from their parents at the border

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NOW WATCH: This top economist has a radical plan to change the way Americans vote

The internet is projected to surpass TV in 2019 as people's favorite source of media

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Not too long ago, television was the clear favorite source of media for consumers, but the end of that decades-long stretch is imminent, according to data from digital media agency Zenith

As this chart from Statista shows, the gap has long been narrowing between the number of minutes consumers spend watching TV every day and the amount of time they spend on mobile and desktop internet consumption. By 2020, Zenith's forecast shows that daily internet consumption will surpass daily television consumption for the first time.

The invention of various social media platforms, the availability of shows on mobile, faster internet, more advanced smartphones, and more digestible content tailored to those smartphones have all played a big role in that reversal. These advancements have also marginally increased the total amount of minutes each consumer spends watching TV and on the internet: Nine years ago, internet and TV minutes totaled around four hours — by 2020 it'll be almost six hours. 

Chart of the day

SEE ALSO: A third of Americans say they've listened to a podcast in the last month

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NOW WATCH: Why Apple is having so many problems right now


The hidden meanings behind Beyoncé and Jay-Z's 'APES---'video

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Beyoncé and Jay-Z surprised the world with their new album "Everything is Love". It came with a new music video, in which Beyoncé and Jay-Z dance, rap, and sing throughout the Louvre in Paris. The cultural significance of the video is heavy, so here are all the hidden meanings you may have missed. Following is a transcript of the video.

Alana Yzola: So, The Carters just released their joint album, Everything is Love, completely unannounced, and with it, came a brand new music video.

Manny Ocbazghi: This time, they rented out The Louvre, which, how Sway? The Louvre and its international art serve as the foundation for a ton of themes in this music video. Here are some of the symbols that you might have missed.

Yzola: While Beyonce is known for having high energy performances throughout her videos, in APS**T, most of her movements are actually pretty subdued. The Carters are purposely statuesque, barely moving, in front of one of the most recognizable portraits of all time, the Mona Lisa. The Carters are literally living art, and the three faces in the frame are portrayed as legendary equals. The two live up to this particular comparison. Art history grad student, Heidi Herrera, noted that people around the world flock to both the Mona Lisa and the Carters, just for something as simple as a quick picture.

Vulture points out that throughout the video, the duo continues to make classical art come to life in brand new contexts. Like Beyonce dancing as Nike, the Greek goddess of victory for you know, obvious reasons, or when she reigned with her fellow female dancers in front of The Coronation of Napoleon. The painting depicts Napoleon crowning his wife, Josephine, the first empress of the French. She switches to a nude wardrobe and lioness hair to dance in front of The Great Sphinx of Tanis, and pulls her hair back to wine in front of Venus de Milo.

One of the most important artistic references was when Jay-Z did his verse in front of The Raft of Medusa. The painting shows the aftermath of a French tragedy, where a naval boat crashed due to poor navigation, leading to a number of deaths. Out of the 150 plus crew members, 17 decided to stay, and 15 survived. The moment captured in the painting was when the crew members saw the rescue ship, after 13 days with little to no food. This hope, after the turmoil, and the determination to stay, symbolizes where Beyonce and Jay-Z are in their relationship right now. They went through hell, but they persevered.

Ocbazghi: Now, let's get into the cultural significance of the video. There's one overarching theme, and that's black excellence. First, let's talk about the portrait of Madame Recamier. The woman depicted in the painting was the wife of a banker and a huge socialite. Putting black women in front of this piece signifies how black women themselves are iconic.

The styling of the women is also significant. It's reminiscent of French artist, Marie Benoist's Portrait of a Black Woman. This kind of depiction of a black woman was rare for its time period, and historians believed it was painted in support of abolitionism. Keep in mind that The Louvre houses a lot of art from the Napoleonic era. Of course, we know Napoleon as one of the most prominent colonizers in history. It's no accident that Jay and Bey position themselves as art, in the midst of these colonial relics. They've literally colonized The Louvre, to celebrate who and what they are.

This painting here, depicts a woman caressing a man with a stab wound, and it's imitated in the video by this black man and woman. The stab wound is representative of police brutality against blacks, which brings us to the image of black men kneeling outside of the museum, a reference to Colin Kaepernick's protest. Black women swoop and sway among the white marble floors as Beyonce sings, "I can't believe we made it." It's a celebration of success in the face of oppression, and these images of black bodies in this historically white space emphasize that.

Yzola: Did you see anything we might have missed? Let us know in the comments below.

Ocbazghi: And subscribe to Insider for more video breakdowns.

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The positive Rotten Tomatoes audience score for 'Gotti' has raised suspicions after the movie's thrashing by critics

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gotti

  • The Rotten Tomatoes critic and audience scores for "Gotti" are drastically different — the film has a 0% critic score but a 71% audience score.
  • Many of the user accounts that positively reviewed the film were created this month and have only reviewed "Gotti," leading to suspicions that the audience score could be manufactured.
  • The film also has almost as many user ratings as "Incredibles 2," which is hard to believe considering the two films' box office performances over the weekend.
  • The marketing strategy for the movie is now calling out critics and saying that audiences "love" the movie.

 

The new John Travolta film "Gotti," which movie-theater subscription service MoviePass invested in, may have a 0% critic score on Rotten Tomatoes, but audiences seem to "love" it — at least according to the film's Rotten Tomatoes audience score and a new marketing strategy for the movie. 

But it appears those latter two things could be connected in a devious way.

"Gotti" currently has a 71% Rotten Tomatoes audience score as of Tuesday afternoon. It's not uncommon for audiences to enjoy a movie more than critics, but it comes as a surprise for the two scores to be so drastically different, especially considering the film's low box-office performance over the weekend (it took in $1.67 million).

Screen Junkies film critic Dan Murrell first pointed out some inconsistencies on Twitter.

What makes the audience score so suspicious is that it's based on nearly 7,000 user ratings. By comparison, "Incredibles 2" has just over 7,600 user ratings. It's hard to believe the two movies would have almost the same amount of user ratings since many more people saw "Incredibles 2" (the movie made a record-breaking $180 million over the weekend). 

Furthermore, "Gotti"'s marketing strategy is now going all-in on the idea that audiences like the movie and critics hate it. The movie's official Twitter called out critics in a tweet Monday night, tweeting "audiences loved Gotti but critics don't want you to see it… The question is why??? Trust the people and see it for yourself!"

Then, on Tuesday, MoviePass sent a notification through its app that said, "Audiences love GOTTI but critics think otherwise. Who do you trust? See it today." MoviePass invested in the movie through its MoviePass Ventures subsidiary. 

This all leads to the suspicion that someone, perhaps the team behind "Gotti," is manufacturing the film's Rotten Tomatoes audience score. If that sounds far-fetched, consider this: most of the user accounts that have positively reviewed the movie on Rotten Tomatoes were created this month, and many of those have only reviewed one movie: "Gotti" (like this one, for instance, in which the review is simply "I will use Movi Pass").

There were even a couple of accounts that had only reviewed two movies: "Gotti" and "American Animals," another (better reviewed) MoviePass-funded film.

A Reddit user broke down the the user accounts based on how many of them had only reviewed "Gotti" and were created this month in this thread.

My own calculations were a bit different, but the conclusion is still the same: there's an unusual amount of accounts that were created in June and have only reviewed "Gotti." Maybe the film just has a passionate fanbase, as Murrell points out, but it's more likely that the movie has a somewhat doctored audience score. 

When reached for comment, Rotten Tomatoes said, "We closely monitor our platforms and haven’t determined there to be any problems. All of the reviews were left by active accounts." But while the accounts may be active, that doesn't mean they weren't created with a specific agenda in mind.

It's worth noting that the audience score dropped throughout the day on Tuesday, but that doesn't change the inconsistencies. 

It wouldn't be unheard of for a movie's Rotten Tomatoes audience score to be the topic of confusion. For instance, "Star Wars: The Last Jedi" has a 46% audience score compared to its positive 91% critic score. This was reportedly due to a group of online trolls angry about the movie which claimed to manipulate the audience score.

Whatever the case, there's no denying that the difference between the "Gotti" scores is a bit out of whack. Who do you trust?

MoviePass did not return a request for comment. 

SEE ALSO: The official Twitter account of John Travolta's 'Gotti' movie lashed out at critics after its 0% score on Rotten Tomatoes

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YouTube has blocked MIT's educational video clips for 4 days because of updated 'partner agreements' and it's left the university frustrated (GOOG, GOOGL)

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youtube ceo Susan Wojcicki

  • YouTube blocked educational videos from MIT and the Blender Foundation.
  • There was speculation that YouTube's content-filtering system is to blame but YouTube says the problem is administrative in nature. 
  • Regardless of the causes, the incident highlights the world's increasing reliance on YouTube as a video distribution pipeline that goes beyond entertainment, and YouTube's challenges handling that responsibility.

Late last week, videos from MIT OpenCourseWare posted to YouTube mysteriously became inaccessible on the Google-owned site.

OpenCourseWare is in charge of sharing teachings from MIT, one of the country’s most respected research universities, with the rest of the world. The school’s most popular videos on YouTube are typically recordings of lectures on computer science and mathematics. It's not the kind of thing that might be considered unsavory, controversial or a violation of YouTube's policies.

And yet, YouTube decided to block these educational videos from public view. The school wasn't informed of the reasons and hasn't a clue about how to get them back up. As of Tuesday afternoon, the videos were still inaccessible.

“We’re quite frustrated by it,”  said Curt Newton, the MIT OpenCourseWare’s director, in an interview Tuesday with Business Insider.

He said the program’s YouTube videos generate millions of views from across the globe. Teachers use them in their classrooms. Students study them.

Also late last week, the same thing happened to clips from the Blender Foundation, the nonprofit that oversees the Blender open-source3D content-creation program, according to a Blender blog post.

YouTube hasn't said much about why the videos were blocked to the site operators or journalists.

A lesson about our dependence on YouTube

“Videos on a limited number of sites have been blocked as we updated our partner agreements,” the company told Business Insider in a statement. “We are working with MIT OpenCourseWare and Blender Foundation to get their videos back online.”

The only problem with that is MIT and Blender say they’re completely in the dark as to why their videos were blocked or when they might return.

The leading theory among tech-news sites is that the cause of the trouble must be a glitch with YouTube’s content filtering system. The filter is supposed to scan videos and flag those that violate the site’s policies. In practice, disturbing and graphic video clips sometimes get through the filter while benign videos that adhere to YouTube’s rules are removed.

YouTube’s statement that the problem lies with the company’s partner agreements seems to indicate that the problem might simply be an administrative, paperwork issue.

Whatever the reason, the incident shows our dependence on YouTube as a fundamental part of a modern infrastructure, in which entities from news publishers to universities depend on it to distribute videos. 

In the past few years YouTube has appeared to struggle to maintain control of a site that sees more than 400 hours of video posted to it every minute and 1.8 billion viewers every month. All that growth appears to have made YouTube enormously valuable

But the flip side is that one of the nation’s premiere universities had its videos removed, wasn't informed of the reasons and was prevented from resolving the issue after four days.  

SEE ALSO: Morgan Stanley figured out how much YouTube would be worth if it were a separate company, and it's more valuable than Disney

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The 34 most beloved CEOs on 2018

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mark zuckerberg

  • Glassdoor released its rankings of the most popular CEOs of 2018.
  • This year, Zoom Video Communications' Eric S. Yuan took the top spot.
  • He's the first person of color to top this list, according to Glassdoor.
  • Some of the CEOs on this year's list are household names, like Mark Zuckerberg and Marc Benioff.
  • Others run hospitals, grocery chains, and even a large winery and distributor.


Glassdoor just released its rankings for the best CEOs of 2018, according to employees.

Now we know which top bosses are incredibly popular within their own companies.

According to the job site, this year also saw the first person of color to take the top spot — Zoom Video Communications' Eric S. Yuan.

The 2018 Highest-Rated CEOs report was compiled from the input of anonymous employees who reviewed their companies on Glassdoor. When filling out a review, Glassdoor users can rate their CEO to indicate their approval, neutrality, or disapproval.

To be eligible for the final ranking, each CEO had to run a company with at least 1,000 employees, and had to have at least 100 approval ratings, senior management ratings, and company reviews from US-based employees between May 2, 2017 and May 1, 2018.

The rankings were close, and final results had to be rounded up to whole numbers. They are not ties.

Head over to Glassdoor for the top 100 list, and keep scrolling below for the top 34 CEOs, who all received employee approval ratings of 95% and up.

SEE ALSO: The 26 most popular CEOs in America, according to Glassdoor

DON'T MISS: What it's REALLY like to work at Facebook

SEE ALSO: A look inside Facebook's New York office, where employees of the $435 billion company enjoy virtual reality games and an in-house pastry chef

34. Steve Beauchamp, Paylocity

CEO approval rating: 95%

"Leadership is approachable and appreciative. Senior leadership makes you feel like a person and less of a number. While working one day, our CEO walked around expressed his appreciation, personally thanked everyone for working for him. In today's market, that is a rare find, very rare." — A Paylocity account manager in Lake Mary, Florida



33. Bill McDermott, SAP

CEO approval rating: 95%

"Great leadership team. Exciting time to work there. Flexibility is very good." — A current SAP employee 



32. Bob Quattrocchi, Northside Hospital

CEO approval rating: 95%

"All staff no matter their position are super welcoming. Work life balance is outstanding and management is phenomenal." — A Northside Hospital environmental technician in Canton, Georgia



See the rest of the story at Business Insider

IT'S A BIDDING WAR: Disney boosts its offer for 21st Century Fox assets (DIS, FOXA)

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Rupert Murdoch

Disney has raised its offer for 21st Century Fox assets. The new offer is worth $36 a share for a total of $71.3 billion in cash and stock. 

The increased offer comes after Comcast crashed Disney's attempt to buy the assets with a $65 billion bid of their own just one week ago, after the US Justice Department approved the AT&T-Time Warner merger. 

"We are extremely proud of the businesses we have built at 21st Century Fox, and firmly believe that this combination with Disney will unlock even more value for shareholders as the new Disney continues to set the pace at a dynamic time for our industry," 21st Century Fox Executive Chairman Rupert Murdoch said in the press release.

"We remain convinced that the combination of 21CF's iconic assets, brands and franchises with Disney's will create one of the greatest, most innovative companies in the world."

21st Century Fox shares are up 29.5% this year through Tuesday. 

This story is developing...

 

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IT'S A BIDDING WAR: Disney boosts its offer for 21st Century Fox assets to $71. 3 billion (DIS, FOXA)

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Rupert Murdoch

  • Disney has raised its offer for 21st Century Fox assets to $38 a share, or a total of $71.3 billion in cash and stock.
  • The deal would allow 21st Century Fox shareholders to elect to receive cash or stock, subject to 50/50 proration.
  • 21st Century Fox shares are up 6%, and Disney shares are up 2.2%.
  • Watch Disney and 21st Century Fox trade in real time here.

Disney has raised its offer for 21st Century Fox assets to $38 a share, or $71.3 billion in all.

According to the press release, the terms of the deal are similar to Disney's previous offer except that the new deal would allow 21st Century Fox shareholders to elect to receive cash or stock, subject to a 50/50 proration. Shareholders would receive the number of shares equating to a $38 price so long as Disney's stock is trading between $93.53 and $114.32 at the deal's close.

The increased offer comes one week after Comcast crashed Disney's attempt to buy the assets with a $65 billion bid, following the US Justice Department's approval of AT&T's merger with Time Warner. Disney originally bid $28 a share back in December.

"We are extremely proud of the businesses we have built at 21st Century Fox, and firmly believe that this combination with Disney will unlock even more value for shareholders as the new Disney continues to set the pace at a dynamic time for our industry," 21st Century Fox's executive chairman, Rupert Murdoch, said in the press release.

"We remain convinced that the combination of 21CF's iconic assets, brands and franchises with Disney's will create one of the greatest, most innovative companies in the world."

The bidding war, however, may not be over just yet.

"Based on our merger models, we think bids from CMCSA or DIS could reach as high as $80 billion," John Janedis, an analyst at Jefferies, told clients in a recent note.

Shares of 21st Century Fox were up 6% on the news, while Disney's were up 2.2%.

Join the conversation about this story »

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Integral Ad Science just won some big money backing — now it wants to launch an assault on the TV-measurement business

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Scott Knoll Integral Ad Science

  • Brands are increasingly retooling their digital ads with their own metrics instead of relying on industry standards, Integral Ad Science CEO Scott Knoll says.
  • After being acquired by private-equity firm Vista Equity Partners earlier this month, Knoll says he's interested in moving into the business of measuring TV and billboard ads.
  • He hasn't ruled out the possibility of taking the company public: "There's still the opportunity," even with shaky markets for ad-tech companies.

The battle to own digital measurement and analytics continues, and investors are taking notice.

A year ago Moat, Integral Ad Science, and DoubleVerify were three hot ad-tech firms pitching themselves to marketers as independent firms that could weed out problems in digital advertising like ad fraud, brand safety, and viewability, or the practice of tracking how many ads are actually seen by consumers.

Oracle gobbled up Moat in April 2017, and DoubleVerify was acquired by private-equity firm Providence Equity Partners shortly after, leaving execs to wonder how long it would take before someone snatched up Integral Ad Science. Earlier this month, Vista Equity Partners acquired a majority stake in the company, valuing it at $850 million, according to Axios.

Backed with a new owner, Scott Knoll, IAS' CEO and president, says he wants to move the firm's expertise in crunching digital stats to old-school advertising platforms like billboards and TV. He also wants to walk brands through creating their own custom stats that fly in the face of standards established by the Media Rating Council.

"This movement toward custom metrics is really interesting to us, and brands are coming to us and saying, 'Can you help us figure out if three or five seconds is the right amount of time?'" Knoll says. "What we're finding is that creative has a lot to do with it. Depending on the creative, you have to make sure you have enough time to tell that story."

Business Insider caught up with Knoll to talk about how brands are taking a stab at their own measurement, the company's acquisition, plans to go public, and how Facebook and Google are opening themselves up to allow for more third-party measurement.

Lauren Johnson: Integral Ad Science was recently acquired by Vista Equity Partners. What does IAS get out of the deal?

Knoll: There's a lot that we feel we have an opportunity to do, and that includes measuring more types of digital advertising, whether it be different channels like OTT, eventually television, outdoor, audio and everything else. Globally, we are in 13 countries but feel like we could be doing a lot more.

We thought about different paths forward. We talked about an IPO openly, and then the opportunity with Vista came up and it was intriguing because it allowed us to remain neutral, which we were afraid a complete acquisition wouldn't do for us.

Johnson: In terms of staying neutral, your competitor Moat is owned by Oracle. How is your company still a neutral platform for marketers?

Knoll: It's completely neutral because we're not part of a bigger marketing cloud or anything—we're still very much a standalone company. There are some other acquisitions in the space, but we're going to remain independent.

When you're bought by another organization that has a business in associated business, your road map changes. You no longer are executing on your vision; you're executing on the parent company's vision. What excites us about this opportunity is that it's still our vision, just with a company coming in who has a lot of expertise in helping companies grow effectively.

Johnson: You've hinted that IAS is interested in going public. Is that something you're still exploring?

Knoll: There's still the opportunity to go public. [Getting acquired] buys us more time to improve operations. Down the road, if we feel that going public still make sense, we can still do that because we're not part of another company.

Johnson: The ad-tech space can be shaky for public companies, but you see an opportunity there.

Knoll: I certainly feel like the company has the ability to go public based on all the metrics of a company looking to go public: size, growth, profitability. Having said that, there are a lot of factors that are out of our control, such as a stock market being a bear market, a bull market, or distaste for certain sectors like ad tech.

Smartphones pictures

Johnson: You mentioned interest in going into some of the nondigital forms of advertising measurement like TV and out-of-home. Why go into those areas and what can you bring from the digital world?

Knoll: We're seeing this convergence where classic media is becoming digitized, which is totally changing that industry, allowing for better and more inventory. As these traditional media formats move to digital, there's a lot more ability to target and to ultimately measure ads. So we feel it's a big opportunity. People aren't going to buy television the way they buy television today — when it's digital, you're going to buy it based on targeting, which is going to acquire more verification.

Johnson: There are a handful of big brands like Nestlé and HP creating their own viewability metrics instead of using the Media Rating Council's standard of viewability. How mainstream is that among other brands?

Knoll: It's definitely becoming more mainstream, particularly in places like Europe. We have 20 brands in Europe that have their own, or are moving to, custom viewability metrics.

There was a problem, and the problem is that a lot of ads never had a chance to be seen. We're trying, as an industry, to quickly solve the issue, and that's when the MRC came in and we developed guidelines around a minimum threshold level of viewability. That was good for weeding out the impressions that shouldn't count [as views].

But the flip side of that is that there really is no quick way to solve viewability — viewability is time and the more you have it, the better off you are as an advertiser. That's the next kind of movement — we're going to move to trading on time because it's incredibly important and you can't just bucket it as good or bad.

EU, European Union, France, Europe

Johnson: Why are European marketers particularly interested in going that route?

Knoll: There tends to be less inventory in Europe, so people have been focused on the quality over quantity. As an industry in the US, we're still so focused on quantity that we get caught up in metrics like trying to drive the most sales leads and conversions. In Europe, I think they've had to move more quickly partially because of privacy as people are preparing for GDPR and ePrivacy laws. They recognize that there are other things besides audience targeting they need to look at — one of those areas is the media itself. Ultimately, the common denominator of all quality media is compelling content that leads to longer views.

Johnson: IAS is one of a handful of companies that plug into platforms like Facebook, Google, and Twitter to pull data and marketers have been asking for more granular stats and measurement from them for a while. What are marketers interested in getting out of these platforms that they're not getting now?

Knoll: The open web we've been able to measure for a while now, and that's viewability, brand safety, and fraud. Advertisers want to have the same data on proprietary platforms that they have on the open web—they're spending the same or more money so they expect to have the same controls. That's something that has taken a little while to work its way through, but there's been a big change over the last two years from reluctance to allowing a third party to measure these platforms. We're not at 100% the same where we can measure everything the same, but it's certainly heading in that direction.

Johnson: A year ago, there was so much interest in transparency and marketers getting access to this data. In light of Cambridge Analytica and privacy issues over the past few months, are you seeing brands push back on that a little and asking for platforms to hold their data a little bit closer to their chest?

Knoll: From my vantage point, which is less around audience targeting and what data they have, we certainly haven't seen that — we've only seen more appetite. I think there's a recognition that advertisers want to know exactly what they're paying for what they're getting.

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The 21 best songs of 2018 so far, ranked

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JAY Z Beyonce

The first half of the year in music has been eventful, to say the least. 

A Beyoncé and Jay-Z joint album just dropped amid a string of album releases from Kanye West, and a high-profile rap beef between Drake and Pusha-T appears to still be percolating

Meanwhile, indie groups like MGMT, Beach House, and The Internet have released some of their best music in years.

Here are the 21 songs that we've gravitated toward the most in 2018 so far:

SEE ALSO: The 50 best-selling albums of all time

21. Drake — "God's Plan"

Prior to suffering a ruthless diss track from Pusha-T, Drake spent 19 consecutive weeks at No. 1 on the Billboard Hot 100 this year for his singles "God's Plan" and "Nice For What." The former track, a buoyant pop song that drew from well-tread but effective sounds of Drake's back catalog, featured an uplifting music video, in which the Canadian rapper donated the video's nearly million-dollar budget to residents of Miami, Florida.



20. Disclosure — "Ultimatum"

The UK electronic duo Disclosure's first release in over two years came in the form of an engrossing five-minute single that sampled the Malian folk singer Fatoumata Diawara. Jazz-style keys and light synths surround an infectious sample from Diawara, which the pair loop and distort throughout.



19. Jack White — "Over and Over and Over"

Jack White's protean and bizarre album "Boarding House Blues" featured a stellar single in the prog-rock, gospel-tinged "Over and Over and Over." White referred to the track as his "white whale" upon its release in March, after he previously attempted to record it multiple times to no avail, including for a collaborative project with Jay-Z that never came to fruition. 



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Watch the electric first trailer for 'Creed II,' the sequel to 2015's blockbuster boxing movie

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  • The first trailer for "Creed II," the sequel to 2015's "Creed," debuted Wednesday.
  • It features Kendrick Lamar's song "DNA." and sets up a compelling fight between Michael B. Jordan's Adonis Creed and the son of Dolph Lundgren's Ivan Drago.
  • The film is set for release on November 21.

The first trailer for "Creed II," the sequel to 2015's successful movie "Creed," debuted on Wednesday, and it sets up a compelling build-up to a fight for Michael B. Jordan's character Adonis Creed. 

The trailer features a chopped up rendition of Kendrick Lamar's song "DNA."

Lamar's track intersperses audio and footage of Sylvester Stallone's Rocky Balbao trying to convince Creed not to fight the son of Ivan Drago (Dolph Lundgren), who killed Creed's father, Apollo, in a fight in "Rocky IV."

Drago's son, Viktor, is played by the real-life professional boxer Florian Munteanu, and Tessa Thompson ("Thor: Ragnarok") also stars in the movie, reprising her role from the first film as Creed's girlfriend Bianca.

Written by Sylvester Stallone and Cheo Hodari Coker (the creator of Netflix's "Luke Cage"), and directed by Steven Caple Jr., the film is set for release on November 21.

The first "Creed" grossed $173.5 million in 2015 against an estimated budget of $35 million, and it earned Sylvester Stallone an Oscar nomination for best supporting actor.

Watch the trailer for "Creed II" below:

SEE ALSO: The 50 best movies of all time, according to critics

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The owner of MoviePass plunges after proposing a reverse-stock split to avoid being kicked out of the Nasdaq (HMNY)

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  • MoviePass owner Helios & Matheson plunged to a new low after proposing a reverse-stock split.
  • The move could help the company maintain Nasdaq's minimum $1 share price and avoid delisting.
  • "The failure of stockholders to approve this Proposal 3 could have serious adverse effects on the Company and its stockholders," the company said in a regulatory filing.
  • Follow HMNY's stock price in real-time here.

Shares of Helios & Matheson, the parent company of the MoviePass subscription service, fell more than 30% to an all-time low of $0.29 early Wednesday after announcing a reverse-stock split that could save it from being delisted by the Nasdaq stock exchange.

In a regulatory filing out Tuesday evening, the company announced a special shareholder meeting to convene in July in order to vote on four proposals to shore up the company's valuations to Nasdaq's standards.

According to Nasdaq's listing rules, a company must maintain a share price above $1.00 — a level HMNY's stock has not seen since May. The sell-off, a 98% plunge in just seven months from a record high of $32.90, has come as Wall Street remains concerned about the company's financial stability.

A reverse-stock split, like the one HMNY has proposed, could help shore up its share price above the minimum. The company wants to consolidate shares anywhere from 1-for-2 up to 1-for-250, which would raise individual share prices by whichever multiple the company eventually chooses.

"The failure of stockholders to approve this Proposal 3 could have serious adverse effects on the Company and its stockholders," HMNY said in the proposal.

Besides the stock split, investors will also be voting to approve new financing notes from January, a share increase, and to change the minimum number of shareholders required to form a quorum.

Despite hemorrhaging cash and racking up a deficit of $150 million on to its latest SEC filing, HMNY maintains that a $300 million "equity line of credit" can sustain it for at least a year — something analysts aren't convinced of quite yet. 

There are also worries of encroaching competition from other subscription services. AMC plans to offer its own product that allows moviegoers to see three screenings per week for for $20 every month. It will launch June 26.

Last week, the company said MoviePass had reached the 3 million subscriber milestone, and was now accounting for roughly 5% of all movie tickets soon.

Do you have information about MoviePass or other competing subscription services? Get in touch with this reporter here.

Helios & Matheson stock moviepass owner

SEE ALSO: MoviePass said a $300 million lifeline could sustain it for over a year, but that money could slip through its fingers

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China's largest social network has blocked all mentions of John Oliver after the talk show host attacked Xi Jinping

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  • John Oliver criticised Xi Jinping's presidency on his show, "Last Week Tonight," over the weekend.
  • Oliver blasted Xi's consolidation of power and China's human rights abuses.
  • The social network Weibo has blocked all mentions of "John Oliver" and scrubbed all recent posts about him and his show.
  • Chinese internet companies regularly censor content that they believe could jeopardise the country's political stability.

China's largest social network, Weibo, has blocked all mentions of John Oliver's name after the TV host criticised President Xi Jinping on his show, "Last Week Tonight."

On Sunday, Oliver blasted Xi's consolidation of power and attempts to establish what he described as a cult of personality by way of abolishing presidential term limits, amassing lists of "untrustworthy" people, and censoring content on the internet at an unprecedented pace.

As a result, Weibo has censored all posts mentioning Oliver's name and show in an attempt to stop users from reading about Oliver's attacks on Xi.

The ban was first noticed by Inkstone, a South China Morning Post-affiliated news outlet focused on China, on Wednesday when reporters found that they were unable to post news about Oliver on Weibo.

The microblogging platform has also scrubbed all posts containing the words "John Oliver" and "Last Week Tonight" since June 12, Business Insider found.

While there is no indication that Weibo's censorship came at the behest of the Chinese government, the Communist Party is known to have a firm grip on internet content. In March, China temporarily banned a Quora-like platform from app stores after it was found not to have censored enough content.

While "Last Week Tonight" is not officially broadcast in the country, and YouTube is blocked in mainland China, Oliver's shows are regularly discussed and shared unofficially on video platforms, Inkstone noted.

Xi Jinping Barack Obama Winnie the Pooh

Chinese internet companies regularly censor content that they believe could jeopardise the country's political stability.

Earlier this year, Weibo blocked the letter N from the internet after it was used to attack Xi. Douyin, the country's video-sharing app, also banned Peppa Pig videos because the government believed the cartoon was being used to spread "negative influence" among the country.

The country has also repeatedly censored content containing images of Winnie the Pooh, which Chinese critics use to mock Xi and to imply physical similarities between the president and the fictional bear.

US viewers can watch Oliver's 20-minute segment on China here.

SEE ALSO: Planting spies, paying people to post on social media, and pretending the news doesn't exist: This is how China tries to distract people from human rights abuses

READ MORE: China's 'Great Firewall' is taller than ever under 'president-for-life' Xi Jinping

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Netflix is releasing 6 original romantic comedy movies this summer, as part of its plan to boost the genre

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set it up Netflix

Netflix is on a rom-com streak right now. 

In May, the teen romance Netflix original "The Kissing Booth" — which got poor reviews from critics but was well-watched nonetheless — made its debut. Last week, "Set It Up," a movie critics love (and certified fresh on Rotten Tomatoes) compelled subscribers. All weekend, people praised Netflix for bringing back the romantic comedy, since it's long been gone from movie theaters in favor of action movies and sequels. 

Thankfully, Netflix has a slew of movies in the same vein as "The Kissing Booth" and "Set It Up" coming this summer —including another one starring "Set It Up" lead Glen Powell.

According to Netflix, more than 80 million subscribers have watched rom-coms on the service in the past year. And that's nearly two-thirds of its global audience. Out of the Netflix subscribers who have watched "The Kissing Booth," one in three viewers have already re-watched it.

Since the genre is proving to be successful for the streaming giant, it doesn't look like it will go away any time soon. 

Here's 5 Netflix original romantic comedies coming to Netflix in the next couple months: 

SEE ALSO: Netflix's new romantic comedy 'Set It Up' has charmed audiences and critics, and has a 92% on Rotten Tomatoes

"Us And Them" — arrives June 22

Netflix description: Two strangers meet on a train and form a bond that evolves over the years. After a separation, they reconnect and reflect on their love for each other. 

Starring: Jing Boran, Zhou Dongyu, Zhuangzhuang Tian

 



"Like Father" — arrives August 3

Netflix description: A jilted, workaholic woman takes her honeymoon trip, anyway; except with her overachieving father.

Starring: Kristen Bell, Kelsey Grammer, Seth Rogen



"The Guernsey Literary and Potato Peel Pie Society" — arrives August 10

Netflix description: A writer forms an unexpected bond with the residents of Guernsey Island in the aftermath of World War II.

Starring: Lily James, Glen Powell, Matthew Goode



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