Reboots. Revivals. Returns.

It's hard to classify the craze of TV shows being brought back to life. Some return with all-new casts and storylines, and others pick up exactly where the original show left off as if nothing happened.

But as the new "Roseanne" and other reboots before it have proven, they can be a hit with audiences and critics alike. Even though "Roseanne" was canceled in May after star Roseanne Barr tweeted a racist remark, it premiered in April to over 18 million viewers.

Reboots can also be duds, though.

Business Insider looked at 23 notable TV reboots and ranked them worst to best, based on how well they did with critics (using critic scores from review aggregator Rotten Tomatoes).

We based the ranking on the average of the reboot's available season critic scores on Rotten Tomatoes — most only had one season. We also included the average critic score for the original series, when available, for comparison. In the case of ties, the reboot with the higher audience score came out on top.

Below are 23 notable TV reboots, ranked worst to best by critics:

SEE ALSO: America's prominent movie-theater chains, ranked from best to worst by audiences

23. "MacGyver" (2016-present on CBS)

Critic score of reboot: 26%

Original series run: 1985-1992 on ABC

What critics said: "It is trying very, very hard to fit in. It has the right elements; what it hasn't yet quite figured out yet, though, is how to combine them into something that will be truly explosive." — Megan Garber, The Atlantic

22. "Fuller House" (2016-present on Netflix)

Critic score of reboot: 33%

Original series run ("Full House"): 1987-1995 on ABC

What critics said: "By lazily throwing everything at the wall without a single element sticking, Fuller House stands as a threat to memories of an older generation and future memories of a younger one. How rude, indeed." — Ben Travers, Indiewire

21. "90210" (2008-2013 on The CW)

Critic score of reboot: 43% (Audience score: 35%) 

Original series run ("Beverly Hills, 90210"): 1990-2000 on Fox

What critics said: "Lacking Gossip Girl's unrepentant edge or The OC's big heart, the new 90210's only chance for a long life is if it divests itself of all the skinny teens and concentrates on the second childhood of the class of 91." — Jonathan Bernstein, Guardian

• Director Todd Phillips on Friday shared a "camera test" video of Joaquin Phoenix wearing clown makeup as The Joker for their upcoming origin movie of the DC villain. 
• Phillips shared an image of Phoenix without makeup four days ago.
• "Joker" is slated to hit theaters in October 2019.

Todd Phillips, the director of the upcoming "Joker" origin movie, took to Instagram on Friday to share new footage of Joaquin Phoenix as the film's title character. 

Labeled a "camera test" by Phillips, the clip ends with Phoenix's Joker wearing clown makeup. The footage comes four days after Phillips shared an image of Phoenix without makeup. 

Though the film's plot is still under wraps, Phillips' two posts with Phoenix suggest that the origin story will start further back than we've ever seen The Joker portrayed on screen.

Phillips' previous directing credits include all three films in the "Hangover" franchise, "War Dogs," and "Old School."

"Joker" is slated to hit theaters in October 2019. Along with Phoenix, it will star Zazie Beetz, Robert De Niro, and Marc Maron.

SEE ALSO: 7 great movies you can watch on Netflix this weekend

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• Telltale Games, the studio behind narrative-driven adventure games based on properties like "The Walking Dead," "Guardians of the Galaxy," and "Game of Thrones," is reportedly winding down its operations.
• The Verge reports that Telltale Games is laying off a significant number of employees, and will retain a crew of about 25 people.
• Last August, Telltale Games told Eurogamer that it employed about 400 people.
• The layoffs come just months after another report detailed cultural issues within the company, including "constant overwork" and "toxic management."

It looks like Telltale Games, the studio behind narrative-driven games like “The Walking Dead” and “Game of Thrones,” might be winding down its operations.

The Verge on Friday reported that Telltale Games laid off “a large number of its staff,” and keeping a small group of around 25 employees.  Furthermore, The Verge reported that most affected employees were laid off suddenly and without severance. 

Telltale Games told Eurogamer last year that it employed about 400 people; a round of layoffs in November brought that number to down 310.

The new layoffs come just months after another report from The Verge, which detailed how cultural issues within the studio, including “constant overwork” and “toxic management,” had driven away its best developers.

Though Telltale Games isn’t completely shutting down, it does look like the company is winding down operations significantly. Matt Kim, an editor at USgamer, reports that Telltale will focus on finishing the final season of its "Walking Dead" title, already in progress — but that future projects, like "A Wolf Among Us 2" and a title based on Netflix's "Stranger Things," are effectively cancelled. 

We've reached out to Telltale Games for more information, and we'll update the story if we learn more.

Update 5:40 p.m. ET: Telltale Games has confirmed the news, and released the following statement on Twitter:

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NOW WATCH: Apple took another subtle jab at Facebook during its iPhone XS event

• "NBA Live 19" lets men and women play together on mixed-gender teams, a first for a professional sports game.
• "Live 19" also allows you to make custom female players for the first time, and both custom characters and real-world WNBA players can mix it up with the men in the game's streetball modes.
• Last year's "Live" was the first basketball game to include WNBA teams, but they could only play against each other.
• In "NBA Live 19," women feature more prominently in the game's core modes, but there's still a long way to go towards equal representation in these games. 

This year's "NBA Live 19" breaks new ground as the first professional sports game to offer mixed gender competition, continuing a progressive trend from developer EA Sports.

Equal representation of both genders has been a struggle for the video game industry, with major developers often more interested in pleasing core male gamers than engaging the ever-growing audience of women playing video games. But EA Sports has quietly been taking strides to create games that reflect a global athletic community and include women competing at the highest level of their respective fields of competition.

EA Sports's NHL franchise was the first to allow female create-a-players in a professional sports game in 2011. In 2015, EA added 12 international women's teams to "FIFA 16," another first. The following year, female fighters entered the octagon for "EA Sports UFC 2," with Ronda Rousey, the UFC Women's Bantamweight Champion at the time, sharing the cover with Men's Featherweight Champion Conor McGregor.

So, maybe it shouldn't have been a surprise when EA announced last year that "NBA Live 18" would feature all 12 WNBA teams and their rosters.

The move was announced just a month before the game's release, but came as a welcome addition for fans of the WNBA and women's sports in general. It was the first time WNBA teams were included in a video game in the league's 21-year history. However, the WNBA teams were limited to only playing each other in the game, and the announcers did not reference specific players during commentary. Despite their inclusion, the WNBA portion of the "NBA Live 18" seemed more like a fun novelty than a part of the core game.

"NBA Live 19" addresses this issue by placing women front and center in the game's career mode, dubbed The One. Players can create and play as a woman or man, and are placed alongside mixed gender teams of NBA and WNBA players. As a game mode, The One is focused on building the best possible streetball team to dominate courts across the world. Facing off against different stars will allow you to unlock them for your team, encouraging players to experiment and find the best combination of men and women.

Male and female players are judged by the same attributes, and there's no apparent gender disparity when playing mixed-gender games. Player abilities are still based on their real life counterparts, but men and women don't have any trouble squaring up against one another anywhere on the court. The place where things seemed to differ the most was height; taller players had an easier time coming down with rebounds near the basket, as they should. That said, my 5-foot, 5-inch player had no problem dunking on the boys during her first game.

While inclusion of women is much more satisfying than last year, there's still room for growth towards equal representation in "NBA Live 19."

WNBA teams are still limited to a single exhibition mode, meaning that fans cannot play through a full season of WNBA basketball the way they might with a regular NBA team. Likewise, playing as a woman in The One mode means that you are relegated to streetball courts, rather than being able to join your favorite WNBA team and compete in a more traditional version of pro ball. 

The progress is definitely appreciated though. Hopefully EA's continued dedication to including women in their sports games will lead more developers to acknowledge the vast number of women who are interested in sports and playing video games.

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NOW WATCH: Apple took another subtle jab at Facebook during its iPhone XS event

To hear the experts tell it, if your business is connected to healthcare, energy, financial services manufacturing or call centers, then there's a chance you'll soon be toast.

A group of companies, including Google, Amazon, Apple, Microsoft, Oracle, IBM, and Intel are investing big money to develop artificial intelligence and other game-changing technology. These new AI superpowers are expected to pay your industry a visit in the not-so-distant future, leaving key parts of your product obsolete and the economics of your business in tatters.

The good news is that some people have faced the dramatic changes brought on by a technological tsunami  and seen their sectors not only survive, but eventually flourish again.

Cary Sherman, CEO and Chairman of the Recording Industry Association of America, the lobbying group for the three top music labels, is one of those survivors. 

The advent of digital music files and online sharing that started in the late 1990s plunged the music industry into its darkest period — in 2009, at the low point, US annual music sales fell to $6.3 billion, less than half of the $14.6 billion posted for 1999.

Now, nearly a decade later, annual music sales are growing again and consumers are paying for streaming services that provide access to an unprecedented trove of music. 

It wasn't easy. Sherman and the record labels endured numerous false starts, surprises and setbacks. They erred. The number of labels fell from five to three. They laid off hundreds of workers and alienated fans. They were mocked and vilified by the tech press

What follows is the story of how recorded music clawed its way back. Sherman's account is a playbook of tips for other industries that may soon find themselves in the fight of their lives:

SEE ALSO: EU lawmakers vote for new online copyright rules

1. Remember, it may take time to grasp the nature of the threat

Napster, the file-sharing service cofounded by Shawn Fanning, launched in June of 1999.

Sherman and his staff immediately recognized it as a threat but didn't appreciate how big of a threat it was.

"I think everybody underestimated the speed at which it would grow and the size that it would grow to," Sherman tells Business Insider. 

Before a court ordered Napster shut down in 2001, the service had enabled maybe as many as  8o million people around the world to share countless numbers of songs, free of charge. 

If a 19-year-old college kid with minimum resources could create a worldwide phenomenon and flip the music industry on its head, what might be accomplished by seasoned technologists who were backed by big bucks? 

2. Accept that the competitive threat may evolve, morph and quickly adapt

Napster was a centralized peer-to-peer service. A central server indexed the users and their libraries of MP3 song files so others could access them. The music industry had seen earlier, clunkier, and far less popular versions, called File Transfer Protocol technology. 

"We started with FTP sites," Sherman said. "Napster was the next form of piracy in 1999 and then a couple of years later came a decentralized form of piracy. Then, came cyber lockers and so on… each generation of formed piracy had a completely different scale beyond anything we had seen before. And so we saw very quickly that things were spinning out of control." 

3. Expect your entry barriers and moats to be breached

The year before Fanning invented Napster, the big recording companies thought they had piracy-proofed their business thanks in large part to the Digital Millennium Copyright Act, which outlawed the cracking of anti-piracy protections on CDs and the distribution of pirated songs by Internet services. 

But the new breed of services let users store music files on their computers, rather than on centralized servers owned by internet providers. That meant that internet service providers weren't liable for the pirated music and it left the record labels with no effective way to stop the problem. 

The DMCA, the record industry's main bastion of defense against piracy, was "obsolete within eight months," says Sherman.

The PlayStation Classic is adorable, obviously. Just look at that tiny little replica of the original PlayStation! There's no way a full-sized CD could fit in that CD-ROM drive!

More importantly, though, the PlayStation Classic comes with 20 equally classic games — at least, that's the case for the first five Sony has announced.

Here's what we know so far, and a few more that we expect will arrive with the PlayStation Classic on December 3:

SEE ALSO: Sony just announced a $100 mini version of the original PlayStation — here's everything we know about the PlayStation Classic

Sony officially announced on Wednesday the first five of 20 games that will come preloaded on the PlayStation Classic. They are: "Final Fantasy VII" ...

... "Wild Arms" ...

... "Tekken 3" ...

• "Maniac" director Cary Joji Fukunaga told Business Insider about the challenges of making his trippy new show for Netflix.
• He also explained why Emma Stone hated playing the elf character, and why he and Stone almost went to Netflix to see if the screening giant would not release all the show's episodes at once.

Warning: Spoilers below if you haven't seen all episodes of "Maniac."

Cary Joji Fukanaga has built his career looking at the darker side of society. Whether it’s the life of a young Mexican gang member who rides atop a train to seek a new life in the United States (“Sin Nombre”), or the 17-year-old case two detective can’t get out of their heads (“True Detective”), he brings to all his stories incredibly engaging characters and a dazzling visual style.

And in his latest project, the 10-episode Netflix series “Maniac,” we get all of that, but a little dark humor as well. The show follows two strangers (played by Emma Stone and Jonah Hill) who meet at a facility that's doing a pharmaceutical trial. We then follow their hallucinations on the drugs, which involve the two doing everything from playing a Long Island couple, to Hill embodying a tattooed gangster with long hair, and Stone as an elf.

The entire show, created by Patrick Somerville (and very loosely based on a Norwegian TV series), shows off Fukunaga’s incredible visual eye but also examines mental illness, drug dependency, and family.

Business Insider spoke to Fukunaga (the day it was announced he would be directing James Bond 25) about the challenge of writing the show (especially since he had never seen the original), why they almost dubbed over Jonah Hill’s Icelandic accent in one episode, the reason Emma Stone hated playing an elf in another, and why Fukunaga would not come back to direct if “Maniac” got a season 2.

Jason Guerrasio: Was “Maniac” an interest because it's completely different in tone than what you've done previously?

Cary Joji Fukunaga: Yes. Definitely. I think the idea of delusions and opening up the genre pallet even wider to do something with a more humorous tone, all of that made it attractive. 

Basically what happened was Anonymous Content optioned the Norwegian show. I never ever saw it, I just basically knew what the format was. The idea was I can make a bunch of worlds, I can get any actor I want, and I thought "let's make it a two-hander." I knew I wanted Emma for sure, but I wasn't sure who would play the other one. And the night that I met with Emma to talk about the show, that I had no idea yet [what it] was going to be about, she brought up Jonah and I kind of did at the same time, and we decided to call him up and go see him. And we did. That same day. 

Guerrasio: Really? That day?

Fukunaga: Yeah. And he was like, "A show where you have no idea what's going on yet other than it's going to be a bunch of delusions? Okay. Sounds good." [laughs]

Guerrasio: Is it true that you and Patrick pretty much scrapped half of the episode scripts three weeks before production was to begin? 

Fukunaga: That's a little of a misrepresentation, basically we threw out a lot of different episodes along the way trying to hammer out what this thing was. I think part of collaboration is we both have to be happy with what we're doing. So there were things I would throw out there and he would throw out there. We would put them up against the wall. We would even write entire episodes and then scrap them. So I can't tell you how many episodes that were written that aren't there. Some of them were other worlds, some of them were shifts in plot that went pretty wild, but then we honed in on this version. Especially for the latter half. 

Guerrasio: Is there one of those scripts that looking back you are bummed you didn't do?

Fukunaga: There was one that was about Emma and Jonah's characters living together for 80 years. And I really like the idea of exploring what that kind of partnership was like. And we put it in a very stoic setting. But we never fully fleshed out that idea. It was just something in concept I really liked. 

Guerrasio: And for that I would imagine they would have had to have been in make-up to make them look older?

Fukunaga: Yes. We had that conversation and the prosthetics component of that was hundreds of thousands of dollars, so that immediately put the breaks on that. 

Guerrasio: Watching this show I felt it's one you don't want to binge because, especially in the middle episodes, they are almost like vignettes that you need a day or so to digest. Was that in your head at all while making it? Making an anti-binge show?

Fukunaga: No. But Emma and I did have conversations about this. We wondered if we should campaign to not have all the episodes released at once and should we talk to [Netflix CCO] Ted [Sarandos]. We went back and forth about it and ultimately we thought the thing about Netflix is you can either binge it take time to watch it.

There is an argument that if “True Detective” was released all at once it wouldn't have been as much of a conversation. I think that's a very valid argument for that show. You'll never know if that would be the difference in terms of the conversation that happens around each episode. But I do think that it's something nice that as episodes come out they are about that episode rather a whole. And then by the end looking at it as a whole and having had all these conversations you come to the conclusion that this is what this show is. But, on the other hand, it is crazy that millions and millions of people, bigger than most countries, are going to have access to this show. That in itself is mind blowing. 

Guerrasio: I was really wowed by Jonah's performance, were you even surprised by the kind of range and vulnerability he brought to this?

Fukunaga: The Icelandic ambassador character was a long one in the making. We knew that he was going to be Icelandic but didn't know how Jonah was going to play it. And we really didn't have time to discuss it. I had the idea for white hair but voicing-wise, when he came up with the voice I was like, "I don't know, maybe we will dub him." There was a moment where we had a conversation [about to] dub his voice with a real Icelandic person. And Jonah didn't know if he could do an Icelandic voice. It's a tricky accent to pull off and that's why we wrote in all that stuff that his mother was all these different ethnicities so he couldn't be pinpointed to once accent. So Jonah was just having fun with it because he thought, whatever, they are going to dub me after. And then halfway through shooting that episode he said to me, "You got to keep my voice." And I said, alright. 

Guerrasio: But even the "option a / b" stuff in the last episode. That's some of the best work he's even done, I feel. 

Fukunaga: It was important to us that that part of his character was not a joke. The way his family treated him could be a joke but not he himself. This is why we also moved the show out of a mental hospital, as it's set in the Norwegian show. I don't know Jonah's process, he's not necessary method, but it's close to it in really trying to feel what the character is going through. It's a very dark depressing character, so it was definitely a challenge for him to inhabit that for so long. 

Guerrasio: Which characters did Jonah and Emma like playing the most?

Fukunaga: I don't know, honestly. But I can guarantee you Emma's favorite character was not playing an elf. When we were first brainstorming I said, "How about an elf or a vampire?" And she said, "No. Nothing that's not real." She doesn't like not real things. 

Guerrasio: That's funny because she's really great in that episode.

Fukunaga: She can do anything. Just personally, that's not her taste. She's never seen “Lord of the Rings,” she can't get into things that aren't real. So Patrick and I thought, well, doesn't that make sense for the "Confrontation" drug? Something she really doesn't enjoy? So we wrote that mildly into the character. And when she did the scene she was just like [gritting his teeth] "Cary, I'm doing this for you!"

Guerrasio: In episode 9 you do a single-shot scene of Emma’s character, who is a CIA agent in that episode, killing a bunch of guards in a hallway? What was the motivation behind doing a “oner” there.

Fukunaga: That was efficiency. One of the reasons to do that oner in "True Detective" is because there's no way in the schedule that we can shoot this in a real action sequence. It would be a bad version of it. So a oner actually, if you have the time to get the choreography down, is just more efficient. For “Maniac,” we shot that whole thing in less than half a day. 

Guerrasio: Wow! But what about Emma getting down the choreography for it? How long did that take?

Fukunaga: She had like a couple of hours. She's not doing anything extremely “Aeon Flux”-like. But she's a good dancer, she understands her body. She hurt her wrist doing it in one of the takes. I don't remember what take we ultimately used. But there's no place to do a splice to cut together, so she just had to kind of get through the whole thing. 

Guerrasio: And is Jonah just riffing through that whole thing?

Fukunaga: Yeah. There were a few lines we wrote, but things like "I killed many men," that's just him. 

Guerrasio: So are you interested in doing a Season 2 if Netflix does one?

Fukunaga: For me, I like to do one and move onto something else. I'd be very happy if another season were to happen, but I think they were just thinking about this as a limited season and if there's an appetite for another one then I think Patrick would be happy to take it up and do it again. But not with me. 

Guerrasio: Last question. You spent almost three years developing and writing "It," you were going to direct it but left the project over creative differences. Have you seen the movie yet?

Fukunaga: [Laughs] I feel bad saying I haven't, but I haven't. I just think it's no longer mine anymore so it's like I will watch it one day, I'm not opposed to it. 

Guerrasio: On an airplane or something?

Fukunaga: Exactly. A place where I'm a captive audience.

SEE ALSO: 7 great movies you can watch on Netflix this weekend

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• "The House with a Clock in Its Walls" won the weekend box office with an estimated $26.8 million.
• The ambitious movies "Fahrenheit 11/9," and "Assassination Nation" fell short.
• Amazon's "Life Itself" had the year's worst opening weekend for a film that opened in more than 2,500 screens, as it only took in $2.1 million.

As September wraps up, we are currently at a dry spot in the box office calendar with no major anticipated titles opening (the next big weekend will be the first in October when "Venom" and "A Star Is Born" start their runs).

That has led to a time of year where indie titles try to capitalize with more ambitious releases, and studios open titles it knows wouldn't have a chance in a more competitive time on the calendar.

A perfect example is this weekend with the releases of Michael Moore's latest movie, "Fahrenheit 11/9," through Briarcliff Entertainment, and Neon's latest genre title "Assassination Nation."

Both titles opened on over 1,000 screens instead of the usual strategy of playing the movies in a handful of theaters in New York and Los Angeles and then widening the release in the following weeks. It's debatable if the strategy paid off for either.

"Fahrenheit 11/9," Moore's documentary on the current political landscape, opened this weekend with an estimated $3.1 million. "Assassination Nation," a explosive drama that is basically "The Crucible" for the social media age, took in $1 million.

Conventional wisdom would suggest that both of these titles should have started out smaller and built momentum into a wider release, but this sleepy time of year at the box office tempts distributors to make bold moves.

Like Amazon Studios releasing the polarizing "Life Itself" on 2,600 screens despite a 13% score on Rotten Tomatoes. The drama directed by the creator of "This Is Us" ended up earning only $2.1 million (an incredibly low $807 pre screen average). That's the worst debut for a movie this year that opened in over 2,500 theaters.

On the studio side, there was no stopping Universal's "The House with a Clock in Its Walls." The family friendly thriller based on the book of the same name and starring Jack Black and Cate Blanchett had no trouble winning the weekend box office with an estimated $26.8 million.

Holdovers "A Simple Favor" and "The Nun" came in second ($10.4 million) and third place ($10.2 million), respectively.

With one weekend left before the heavy hitters come back, look for all these titles to shift their releases accordingly for next weekend so they can collect every penny they can.

SEE ALSO: After walking away from directing "It" following nearly 3 years of development, Cary Joji Fukunaga is in no rush to see the movie: "It's no longer mine"

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• Apple CEO Tim Cook shot down Apple's Dr. Dre drama "Vital Signs" after objecting to scenes showing drugs, sex, and violence, the Wall Street Journal reports.
• The Journal said Apple is pursuing a family-friendly content strategy for its push into TV.
• Apple's original video ambitions emerged in 2017, with a reported budget of $1 billion and the hiring of former "Breaking Bad" executives Jamie Erlicht and Zack Van Amburg.

Apple CEO Tim Cook does not want gratuitous sex and violence in Apple's upcoming video content, The Wall Street Journal reports.

Over a year ago Cook previewed Apple's first drama "Vital Signs," a six-part semi-autobiographical series about hip hop star Dr. Dre, which began shooting in 2016.

According to the Journal, Cook was shocked at scenes featuring cocaine consumption, an orgy, and guns being drawn. Cook reportedly told Apple Music executive Jimmy Iovine that the show was too violent, and could not be shown on Apple.

A release date for "Vital Signs" has been shrouded in mystery. Sources told Business Insider last year that the elements were being filmed again as Dre wasn’t satisfied with the product.

The Journal reports that Apple is pursuing a family-friendly content strategy for its move into television. The newspaper summed it up like this:

"Apple’s entertainment team must walk a line few in Hollywood would consider. Since Mr. Cook spiked 'Vital Signs,' Apple has made clear, say producers and agents, that it wants high-quality shows with stars and broad appeal, but it doesn’t want gratuitous sex, profanity or violence."

In June 2017, it was reported that Apple poached Sony Pictures TV executives Jamie Erlicht and Zack Van Amburg, who spearheaded shows including "Breaking Bad" and "The Crown." In August, it emerged that Apple was setting aside a budget of $1 billion for original content.

Erlicht and Van Amburg have had moderate success in pitching slightly edgier content to Apple, with the Journal citing a series made by M. Night Shyamalan about a couple who lose a child. However, Apple reportedly insisted that all crucifixes be removed from the characters' house, as it wants to steer clear of sensitive issues like religion and politics. Shyamalan was not available to comment.

SEE ALSO: Inside Apple’s rocky road to Hollywood, and what happened to Dr. Dre’s show

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NOW WATCH: Apple might introduce three new iPhones this year — here’s what we know

• Sirius XM has agreed to pay $3.5 billion for Pandora in an all-stock transaction.
• The deal has an implied price of $10.14 a share, and includes a "go-shop" provision.
• Watch Sirius XM and Pandora trade in real time.

Sirius XM Holdings will acquire Pandora for $3.5 billion in an all-stock transaction, creating the world's largest audio-entertainment company, the two sides announced Monday. 

The deal, which includes a "go-shop" provision that allows Pandora to seek a better offer, will pay current Pandora shareholders 1.44 newly-issued Sirius XM shares for every share they own. The implied price of $10.14 a share is a 13.8% premium to Pandora's 30-day volume-weighted average price.

"We have long respected Pandora and their team for their popular consumer offering that has attracted a massive audience, and have been impressed by Pandora's strategic progress and stronger execution," Sirius XM CEO Jim Meyer said in the release.

"We believe there are significant opportunities to create value for both companies' stockholders by combining our complementary businesses. The addition of Pandora diversifies Sirius XM's revenue streams with the U.S.'s largest ad-supported audio offering, broadens our technical capabilities, and represents an exciting next step in our efforts to expand our reach out of the car even further."

Alongside the announcement, Sirius XM reiterated its full-year 2018 outlook and Pandora reiterated its third-quarter outlook. 

Pandora shares are up more than 9% on the news, trading just below $10. Meanwhile, Sirius XM's stock is down about 2% at $6.84 a share. 

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• George Soros' hedge fund owned a $56 million stake in Pandora at the end of the second quarter on June 30. 
• Even at the highest prices of the quarter, Sirius XM's purchase of Pandora would represent at least a 30% premium on his investment, so long as he still holds the stock. 
• Sirius XM would give Pandora shareholders 1.44 new shares for every Pandora share they own.
• A "go shop" provision allows Pandora to seek a better offer. 
• Follow Pandora's stock price in real-time here. 

Hedge fund billionaire George Soros disclosed a massive stake in Pandora last month, and his bet on streaming music appears to have already begun to pay off.

Soros Fund Management, which bought 7.12 million shares, worth $56.1 million, during the second quarter, will receive 1.44 newly issued Sirius XM shares for each Pandora share it owns, at an implied price of $10.14 per share, as part of the satellite-radio company's $3.5 billion, all-stock deal to buy its streaming competitor.

It's not clear at what price Soros' firm made its Pandora investment, but even at the highest price of the quarter — $7.64 per share — Monday's deal price represents at least a 32% premium, making his stake potentially worth $72.2 million in new shares. 

The hedge fund also disclosed a $122 million stake in Pandora-competitor Spotify in its second-quarter filing, though it's possible that either investment could have been sold between the quarter's end on June 30 and today. The disclosures came as part of what's called a Form 13-F, in which asset managers must disclose their quarterly holdings four times per year. Entry and exit dates, as well as purchase prices, are not required as part of the regulatory document. 

There's also a chance the deal could be nixed, either by government regulators who oversee mergers of this nature, or by a "go shop" provision included in the terms of the deal. Such a caveat allows Pandora's board to follow its fiduciary duty to shareholders by seeking competing offers.

"We believe there are significant opportunities to create value for both companies' stockholders by combining our complementary businesses,” Jim Meyer, Sirius XM’s CEO, said in a press release.

"The addition of Pandora diversifies Sirius XM's revenue streams with the U.S.'s largest ad-supported audio offering, broadens our technical capabilities, and represents an exciting next step in our efforts to expand our reach out of the car even further."

Following the news, Pandora shares surged more than 8% in early trading Monday, while Sirius XM sank about 3.7%.

SEE ALSO: Sirius XM agrees to pay $3.5 billion in stock for Pandora to create the world's largest audio-entertainment company

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• Director Todd Phillips revealed the first photo of "Atlanta" and "Deadpool 2" actress Zazie Beetz in "Joker."
• Beetz's character is reportedly a "single mother who catches the interest" of Joaquin Phoenix's Joker.
• "Joker" comes to theaters October 4, 2019.

Director Todd Phillips revealed the first official photo of Zazie Beetz's character from the upcoming "Joker" movie on Instagram on Sunday.

Little is known about the "Atlanta" and "Deadpool 2" actress' character in "Joker," but IMDb lists her as playing "Sophie Dumond." When The Hollywood Reporter first reported that Beetz was joining the cast, it described her character as a "single mother who catches the interest of the man who will become the 'clown prince of crime.'"

The photo is below:

Phillips, known for directing "The Hangover," had already revealed a look at star Joaquin Phoenix as the title character, both with and without makeup. The director posted footage on Instagram last week of a camera test with Phoenix in clown makeup.

"Joker," an origin story of Batman's greatest foe, comes to theaters October 4, 2019.

SEE ALSO: The 'Joker' origin movie teases first footage of Joaquin Phoenix in clown makeup

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NOW WATCH: A top movie actor reveals how he learns different accents

Stuck on what to watch next? Look no further. We're here to make it easier to pick what shows you watch on Netflix this week.

We know what it's like to spend way too much free time choosing what to watch on Netflix, so every week we put together a list of three shows you can watch right now.

We pick shows you can finish in a day, and some you can just get started on binge-watching. We mix shows that have recently come onto the service with some old favorites you might have missed.

From a new season of "BoJack Horseman" to "Riverdale," here are three great TV shows you can binge-watch on Netflix this week:

"BoJack Horseman"

Seasons: 5

Episodes: 61

"BoJack" is without a doubt one of the best TV shows right now, and one of the best Netflix originals. If you haven't watched season five, take some time out of your week to binge it. And if you haven't watched it at all, it's a great time to start. 

"Riverdale"

Seasons: 2

Episodes: 35

"Ugly Delicious"

Seasons: 1

Episodes: 8

"Ugly Delicious," which focuses on comfort food over presentation, is a fun show that brings a new, exciting, and not-pretentious spin to the food doc. Celebrity guests include Ali Wong, Eric Wareheim, and Nick Kroll.

• John Oliver on Sunday took on President Trump and Fox News analyst Jeanine Pirro for their defenses of Supreme Court nominee Brett Kavanaugh, amid the sexual assault allegations against him.
• The episode focused on reactions to the first allegation of sexual assault against Kavanaugh by Christine Blasey Ford. It was taped before an article published by The New Yorker brought a new allegation of sexual assault against Kavanaugh by Deborah Ramirez, a Yale classmate of Kavanaugh's. 

John Oliver on Sunday criticized President Trump and Fox News analyst Jeanine Pirro, among others, for their defenses of Trump's Supreme Court nominee, Brett Kavanaugh, whose nomination has been rocked by sexual assault allegations. 

Sunday's "Last Week Tonight" episode was taped before an article published by The New Yorker brought a new allegation of sexual assault against Kavanaugh by Deborah Ramirez, a Yale classmate of Kavanaugh's. Oliver's show thus focused on reactions to the first allegation of sexual assault against Kavanaugh by Christine Blasey Ford, who is set to publicly testify about her allegation before the Senate Judiciary Committee on Thursday. 

The "Last Week Tonight" host first took on Fox News host and Jeannine Pirro. Pirro last week criticized Democratic Senator Dianne Feinstein for keeping Ford's allegation under wraps until Kavanaugh's confirmation hearing, despite first hearing from Ford about it in July. 

“And Dianne: Why would you wait to even send it to the FBI? Is it because nothing in you and your path of demon-rats — that’s what I said, demon-rats — Democrats’ bag of tricks was working against Kavanaugh?” Pirro said in a clip Oliver played. 

Oliver then threw to another clip of Pirro calling Democrats "demon-rats," and joked, "Jeanine: Stop trying to make demon-rats happen." 

He moved on to Trump, who last week tweeted that Ford should prove her allegation with a police filing. 

"I have no doubt that, if the attack on Dr. Ford was as bad as she says, charges would have been immediately filed with local Law Enforcement Authorities by either her or her loving parents. I ask that she bring those filings forward so that we can learn date, time, and place!" Trump tweeted. 

"So the president cast doubt on someone who says she was sexually assaulted, while also sort of implying that her parents don’t love her. To borrow a phrase, that’s one of the most s---headed things I’ve seen from the standpoint of s---headedness," Oliver said.

Watch the episode on HBO.

SEE ALSO: Why Democrats brought up the Kavanaugh accusations at the last minute when they've known since July

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• Amazon Studios gave "Life Itself" the widest release ever for one of its movies — and it backfired.
• The movie played on over 2,600 screens but made only $2.1 million (a $807 per-screen average).
• It is the worst performance this year by a movie released in over 2,500 theaters.

Unlike Netflix, Amazon has played nice with movie theaters by respecting the exclusive window and releasing all its feature-length movies in theaters before launching them on its Prime streaming service.

Whether through co-distribution deals on titles such as “The Big Sick” (Lionsgate), “The Lost City of Z” (Bleecker Street), and the Oscar-winning “Manchester by the Sea” (Roadside Attractions), or doing it solo with titles like “You Were Never Really Here” or Woody Allen’s “Wonder Wheel,” Amazon Studios has proved to the filmmakers that it works with that it respects the theatrical experience.

But this weekend’s performance of its latest title, “Life Itself,” showed that Amazon is still trying to figure out the movie business.

The latest directing effort from “This Is Us” creator Dan Fogelman is a multigenerational love story spanning decades and stars a large ensemble cast that includes Oscar Isaac, Olivia Wilde, and Antonio Banderas. But it suffered the worst opening weekend for any movie this year released on over 2,500 screens (it actually opened on 2,609) as it took in just $2.1 million domestically. That’s a horrific $807 per-screen average.

The movie’s performance would've been downplayed if Amazon (which released “Life Itself” without a co-distributor) had continued its model of opening its movies in limited release. But it chose this to be its first ever to open in wide release. Amazon made that decision even though it didn't do a big marketing push for the movie, its major talent that general audiences would recognize didn’t do any press (like Isaac) or very limited (Wilde), and critics hated it. The movie has a 12% ranking on Rotten Tomatoes.

"It really never had a chance, especially considering adult dramas need strong critical accolades to attract an audience these days,” Jeff Bock, senior box-office analyst at Exhibitor Relations, told Business Insider. “And why would audiences pay for something they get for free? Audiences love Fogelman's 'This Is Us,' but aren’t paying a dime for.”

But BoxOfficeAnalyst.com’s Doug Stone said going wide was the only move Amazon had.

“Following the critical reception, trying to build out a run from a limited start would have been near economic suicide,” Stone told Business Insider.

With the crowded slate of films coming once the calendar hits October, which will be filled with award-season contenders at the art houses, and big blockbusters like “Venom” eating up multiplex screens, Stone said that Amazon’s only chance at making a buck was to go against form and open the movie wide from the start.

The general plan with limited released films is to start with a small number of theaters in major markets and feed off the per-screen average to get the movie in more theaters in the coming weeks.

But given the mixture of bad reviews for “Life Itself” matched with the much more enticing titles coming soon, it would have been extremely difficult to expand the release.

“It may have been in Amazon’s best interest to strike the best deal with as many theaters as possible now rather than try to release a film that would likely fail on a roll-out basis,” Stone said.

But don’t expect Amazon Studios to lick its wounds that long. By the end of October, it will be releasing two of the most anticipated movies of the fall: the Oscar-buzzing “Beautiful Boy” (October 12) starring Steve Carell and Timothée Chalamet, followed by Suspiria (October 26), a reboot of Dario Argento’s classic 1977 horror movie.

SEE ALSO: Scrapping episodes, Emma Stone's hatred of her elf role, and Jonah Hill's questionable Icelandic accent: Cary Joji Fukunaga takes us inside the making of his Netflix series "Maniac"

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NOW WATCH: A top movie actor reveals how he learns different accents

• Luca Guadagnino's supernatural horror remake, "Suspiria," screened at Fantastic Fest on Sunday and those who saw it gave it high praise.
• The film has been called a masterpiece that is "bats--- crazy," "an orgasmic fever dream," and one of the best horror films of the year.
• "Suspiria," which stars Dakota Johnson and Tilda Swinton, comes to theaters October 26.

The upcoming horror remake "Suspiria" debuted at Venice Film Festival earlier this month to an eight-minute standing ovation, but a divided critical reception. But the film was shown at a secret screening at Fantastic Fest on Sunday, and those who saw it this time gave it high praise.

The movie, from "Call Me by Your Name" director Luca Guadagnino, is a remake of the 1977 supernatural horror film of the same name about a dance academy that is a front for something far more terrifying. The remake, which comes to theaters October 26, stars Dakota Johnson and Tilda Swinton.

"Suspiria" has received rave reviews online that praise it as a "masterpiece," an "orgasmic fever dream," a "stunning experience," and one of the best horror films of the year. 

A.V. Club wrote that the film is "high art, a two and-a-half-hour wallow in the primal recesses of the human psyche that’s alternately calculatedly subdued and completely bats--- crazy."

CinemaBlend wrote that Guadagnino "has created a work that shares key DNA with its predecessor while still standing very much on its own," and the film "coalesces as a stunning, horrifying nightmare that is as shockingly gorgeous as it is unsettling."

Below are more reactions to the movie on Twitter following its screening at Fantastic Fest:

SEE ALSO: Lowballing Arnold Schwarzenegger hurt 'The Predator' at the box office

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NOW WATCH: How actors fake fight in movies

• Sony's PlayStation group has a major hit on its hands with the PlayStation 4. It's the most popular game console in the world by a long shot.
• On the flipside, Sony's handheld gaming console — the PlayStation Vita — has faded into history.
• The end of Vita production in 2019 will mark Sony's exit from the portable gaming market.
• As of 2019, the only gaming company making dedicated portable gaming consoles will be Nintendo.

Sony's PlayStation group is laser-focused on the PlayStation 4, and with good reason — it's the most popular game console in the world.

It's so popular, in fact, that you probably forgot about the PlayStation Vita.

That's the other console that Sony makes. It's a dedicated portable game console that's able to power beautiful, near-console quality games. You can even stream PlayStation 4 games on it! And it's about to reach its end of life.

"In Japan, we will manufacture PlayStation Vita until 2019. From there, shipping will end," Sony Interactive Entertainment senior vice president Hiroyuki Oda told Japanese video game magazine Famitsu. Moreover, Sony apparently has no plans to replace the Vita with something newer.

"Currently, we do not have any plans regarding a new handheld device," Oda told Famitsu. Sony has yet to officially announce its exit from the portable gaming market, but a representative confirmed the report to Business Insider.

That's a pretty big deal: It means Nintendo is the only company left making handheld game consoles.

Sony's been the only competition for Nintendo's handheld consoles for the past 15 years.

Starting in late 2004 with the launch of the PlayStation Portable handheld, Sony offered a high-tech counterargument to Nintendo's low-tech, family-friendly Nintendo DS handheld.

The PSP launched with games from major PlayStation franchises like "Twisted Metal" and "Ridge Racer,"and featured gorgeous graphics. Its massive, colorful screen was a revelation in the years before smartphones were ubiquitous. But the PSP's high price, disc-based media format (so-called "universal media discs" or UMD), and expensive games kept the console from competing with Nintendo's DS — and a subsequent lack of new games on the PSP relegated it to second place permanently.

The PlayStation Vita continued that tradition when it launched in 2011.

Major Sony franchises like "Uncharted," "Wipeout," and "Hot Shots" all got entries on the Vita. Visuals were similarly impressive — far better than Nintendo's 3DS competitor — but high prices for the console and its games limited the Vita's appeal. It didn't help that Nintendo had Pokémon on its 3DS.

But it was indie games that really highlighted the brilliance of the Vita: Games like "Hotline Miami," "Spelunky," and "The Binding of Isaac" were perfect for Sony's handheld. 

They were easy to pick up and play on-the-go — a crucial function of portable games, as any smartphone gamer can attest. "Uncharted" offered a graphical showcase of the Vita's power, but felt like a console game shoehorned into a portable; games like "Don't Starve" felt natural on the Vita specifically because they weren't trying to deliver a blockbuster experience.

After nearly two decades of trying to crack the handheld gaming market, it looks like Sony is finally giving in to Nintendo. 

After all, with the Nintendo Switch, Nintendo created a brand new market where a home game console is also a portable game console. It's a shrewd move in a world where nearly everyone has a killer game console in their pocket, and it's a leap that Sony never made. 

But with the PlayStation 4 firmly on top, Sony's incentive to compete with both Nintendo and the ubiquity of smartphones for a spot in the fickle world of portable gaming is nonexistent.

It's no surprise that Sony is throwing in the towel.

SEE ALSO: The PlayStation 4 is still outselling every other console, including Nintendo's red-hot Switch

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NOW WATCH: Apple might introduce three new iPhones this year — here’s what we know

• Emma Stone really didn't want to play an elf on the Netflix show "Maniac."
• When the show's director, Cary Joji Fukunaga, suggested it, she immediately nixed it, telling the director she only liked to play real characters. 
• But Fukunaga told Business Insider he couldn't resist writing it into the show.

Warning: Spoilers below if you haven't seen episode seven of "Maniac."

It turns out there's a reason why we've never seen Emma Stone in a fantasy movie: she only likes to play realistic characters. 

"Maniac" director Cary Joji Fukunaga discovered that early on while developing the Netflix show with the Oscar winner. While kicking around ideas for the different type of roles she and her costar Jonah Hill could play on the show, when their characters are on drugs, he had a thought. 

"I said, 'How about an elf or a vampire?' Fukunaga recalled to Business Insider. "And she said, 'No. Nothing that's not real.'"

"Just personally, that's not her taste," Fukunaga said. "She's never seen 'Lord of the Rings,' she can't get into things that aren't real."

But as the show continued in the development process, Fukunaga and show creator Patrick Somerville couldn't resist writing the elf role in, with Stone's hatred of the genre as part of the story. It was especially fitting because one of the three drugs Stone and Hill take on the show is called "Confrontation," and is to be taken to overcome anxieties, fears, and depression.

"Patrick and I thought, well, doesn't that make sense for the Confrontation drug? Something she really doesn't enjoy? So we wrote that mildly into the character," Fukunaga said. "And when she did the scene she was just like [gritting his teeth] 'Cary, I'm doing this for you!'"

Despite Stone's hatred of playing an elf, her performance (in episode seven) is one of the highlights of the show. While taking the Confrontation drug, she is transported to a Middle Earth-like location and is dressed like an elf with a bow and arrow. Through the episode, Annie (Stone) is trying to lead another elf to a mythical water source that will cure the girl's illness. That girl is actually Annie's sister, Ellie (Julia Garner), who died when the two were in a horrific car accident.  

SEE ALSO: Scrapping episodes, Emma Stone's hatred of her elf role, and Jonah Hill's questionable Icelandic accent: Cary Joji Fukunaga takes us inside the making of his Netflix series "Maniac"

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Apple's $1 billion push into original TV programming has gotten off to a slow start. 

The Wall Street Journal reported on Saturday that quality control issues from Apple CEO Tim Cook have largely been responsible for the company's delayed production of the more than dozen shows it has ordered.

Cook reportedly scrapped Dr. Dre's original series, "Vital Signs," (which was already shot) over concerns about explicit scenes that included cocaine use, an orgy, and "drawn guns." 

Several other shows have faced delays as Apple seeks to keep "gratuitous sex, profanity or violence" from its service's original content, a family-friendly approach that reportedly has the company's own employees referring to the company's project as an "expensive NBC," according to WSJ. 

Apple first had a brief, initial run of shows last summer with the release of the unscripted series "Planet of the Apps" and "Carpool Karaoke." But the company shifted its course in June 2017 when it hired former Sony Pictures Television presidents Jamie Erlicht and Zack Van Amburg to head its original programming.

Since then, the company has announced the production or development of 17 original, scripted series — including a biographical drama on NBA all-star Kevin Durant's youth, an animated show from the creator of "Bob's Burgers," and an untitled series from M. Night Shyamalan.

None of those 17 upcoming series has a release date yet.

Here are the 19 original shows that Apple is producing in its push into TV (including two that have already been released): 

SEE ALSO: The 50 best TV show seasons of all time, according to critics

UPCOMING:

"Amazing Stories"

The Wall Street Journal reported in October that Apple's first move under its new programming heads, Van Amburg and Erlicht, would be to revive Steven Spielberg's sci-fi and horror anthology series "Amazing Stories," which aired on NBC in the late 1980s. 

WSJ reported that Apple signed a deal with Spielberg's Amblin Television and Universal Television to produce 10 new episodes of the series, with Bryan Fuller (the creator of NBC's "Hannibal") as its showrunner.

Fuller left the series in February, however. A source told Variety that Fuller parted "amicably," and that Fuller's vision for the show did not match the "more family-friendly approach" that Apple reportedly sought.

Untitled Reese Witherspoon/Jennifer Aniston morning show drama series

In November, Apple announced that it ordered two ten-episode seasons of a drama series that is set in the world of morning-TV talk shows and stars Reese Witherspoon and Jennifer Aniston. 

Variety reported that the series will draw from CNN senior media correspondent Brian Stelter's 2013 book "Top of the Morning," which recounted the morning-TV rivalry between NBC's "Today" and ABC's "Good Morning America."

Jay Carson ("House of Cards") is writing the pilot and will serve as showrunner. It will be produced by Michael Ellenberg's Media Res studio, Aniston's Echo Films, and Witherspoon's Hello Sunshine production company.

• Actor Jim Carrey tweeted a new drawing on Monday that goes after Supreme Court nominee Brett Kavanaugh.
• Carrey suggested a "new uniform" for Supreme Court Justices that includes a ski mask.
• Carrey called Kavanaugh an "entitled little s---."
• Kavanaugh has been accused by two women of sexual misconduct. 

Actor Jim Carrey delivered a scathing rebuke of Supreme Court nominee Brett Kavanaugh in a new drawing he posted to Twitter on Monday, along with criticism of how colleges deal with campus sexual assault.

Carrey tweeted a drawing of a Supreme Court Justice wearing a "new uniform" that includes a ski mask over the face, with the caption:

"Colleges care more about donors than the victims of on-campus rape. That's why women don't report it and why ENTITLED LITTLE S---- like Injustice Kavanaugh get to party and pillage their way to the Supreme Court. I'd like to suggest a new uniform for the highest court in the land."

Kavanaugh has been accused by two women of sexual misconduct that allegedly occurred while he was in high school and while he attended Yale University. On Sunday, The New Yorker reported that a woman named Deborah Ramirez claimed Kavanaugh exposed himself to her during a party while the two attended Yale, "thrust his penis in her face, and caused her to touch it without her consent as she pushed him away." Kavanaugh has denied the accusations.

This isn't the first time Carrey has attacked Kavanaugh.

Last week, Carrey tweeted a drawing in reference to the first allegation against Kavanaugh, in which Christine Blasey Ford claimed that Kavanaugh sexually assaulted her while she was intoxicated at a party in high school. Ford is expected testify to the Senate Judiciary Committee on Thursday.

SEE ALSO: After a surprise screening, 'Suspiria' is being praised as one of the best horror movies of the year and 'bats--- crazy'

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NOW WATCH: A top movie actor reveals how he learns different accents