Quantcast
Channel: Business Insider
Viewing all 103365 articles
Browse latest View live

MIT is giving you control of a real person on Halloween in a dystopian game that sounds like an episode of 'Black Mirror'

$
0
0

beeme internet social experiment halloween hands mit media lab

  • MIT Media Lab is hosting a mass online social experiment on Halloween at 11 p.m. EDT.
  • Called "BeeMe," the goal of the "dystopian game" is to let participants control an actor and defeat an evil artificial intelligence program.
  • Internet users will program the actor by crowdsourcing commands and then voting on them.
  • BeeMe's creators say they want the project to stoke conversations about privacy, ethics, entertainment, and social interactions.

This Halloween, the creepiest event to attend might be a mass online social experiment hosted by researchers at the Massachusetts Institute of Technology.

MIT is famous for churning out some of the world's top engineers, programmers, and scientists. But the university's Media Laboratory is increasingly known for launching experimental projects in October that are designed to make us squirm.

In 2016, researchers at the MIT Media Lab created the artificial-intelligence program Nightmare Machine, which converted normal photos into into macabre images. (The results were predictably creepy.) Then in 2017, a researcher made AI software called "Shelley" that learned how to write its own horror stories. (These were also creepy.)

This year, members of MIT Media Lab are taking their desire to freak us out to the next level with a project called "BeeMe."

BeeMe is described in a press release as a "massive immersive social game" that aims to "shed a new light on human potential in the new digital era." But it also sounds like a choose-your-own-adventure episode of the show "Black Mirror."

"Halloween night at 11 p.m. ET, an actor will give up their free will and let internet users control their every action," Niccolò Pescetelli, who studies collective intelligence at MIT Media Lab, told Business Insider in an email about BeeMe.

Pescetelli added: "The event will follow the story of an evil AI by the name of Zookd, who has accidentally been released online. Internet users will have to coordinate at scale and collectively help the actor (also a character in the story) to defeat Zookd. If they fail, the consequences could be disastrous."

How MIT will let you control a person

beeme internet social experiment halloween mit media lab

The project's slogan is: "See what I see. Hear what I hear. Control my actions. Take my will. Be me."

The full scope of gameplay is not yet public. However, Pescetelli, BeeMe's social media accounts, and promotional materials reveal a few key details.

The person being controlled will be a trained actor, not anyone randomly selected. Who that actor will be and where they will be located won't be disclosed, Pescetelli said. He said he expects the game to last about two hours, but added "it will be the audience who ultimately decides" how long the game will go on.

There will be limits to what crowd-generated commands can make the actor do.

"Anything that violates the law or puts the actor, their privacy, or their image in danger is strictly forbidden," Pescetelli said. "Anything else is allowed. We are very curious about what [is] going to happen."

beeme internet social experiment halloween vote command mit media lab

Participants will control the actor through a web browser, in two ways.

One is by writing in and submitting custom commands, such as "make coffee," "open the door," "run away," and so on. The second way is by voting up or down on those commands, similar to the system used by Reddit. Once a command is voted to the top, the actor will presumably do that very thing.

This is the origin of the word "bee" in the project's name: Internet users will have to act collectively as a "hive" to progress through the game.

BeeMe's Twitter account shared an eerie teaser video of the game on October 15.

"Many people have played an augmented reality game, but BeeMe is reality augmented," Pescetelli said in a press release. "In BeeMe an agent gives up their free will to save humanity — or perhaps to know whether humanity can be saved at all. This brave individual will agree to let the Internet pilot their every action."

The whole event will be broadcast live at beeme.online.

"In theory there is no limit to the number of users that the platform can support, but we will know for sure only on Halloween," Pescetelli said.

Why the researchers created BeeMe

beeme internet social experiment halloween message mit media lab

The BeeMe project is made by eight people, will cost less than $10,000, and quietly went public in May 2018, when it joined Twitter as @beeme_mit. The tweets posted by the account capture some of its thinking and evolution.

One tweet quotes philosopher Marshall McLuhan, who famously wrote in 1964 that "the medium is the message" — meaning that any new way to communicate influences what we say, how we say it, and ultimately what we think. McLuhan, who lived until 1980, is described by his estate as "the father of communications and media studies and prophet of the information age."

The account also references other visionaries, including analytical psychologist Carl Jung, social scientist Émile Durkheim, and biologist Charles Darwin.

"[In] the long history of humankind (and animal kind, too) those who learned to collaborate and improvise most effectively have prevailed," BeeMe tweeted in August, quoting a famous saying of Darwin's (and likely as a tip on how to win the game).

Another tweet highlights a shocking act of performance art called "Come Caress Me," created in 2010 by Amir Mobed. In the installation, Mobed stands before a huge target with a metal bucket on his hed, and volunteers are led into the room to shoot him with a pellet gun. (Many do, not seeming to understand the ammunition is real.)

These and other BeeMe posts seem to reflect what the experiment strives to be on Halloween: Something that is on its surface fun, but reveals some hidden truths about ourselves and our digital society.

In a release sent to Business Insider, the project described itself this way: "BeeMe is a dystopian game that promises to alter the face of digital interactions, by breaking the Internet's fourth wall and bringing it back to reality. BeeMe wants to reopen a serious — yet playful — conversation about privacy, ethics, entertainment, and social interactions."

Whatever the game ends up teaching those who play or watch it, we'll find out on Halloween if humanity can pull together to save itself — or fail in dramatic disarray.

This story has been updated with new information.

SEE ALSO: Watch a haunting MIT program transform photos into your worst nightmares

DON'T MISS: An MIT startup made a simple device that turns filthy car exhaust into beautiful ink

Join the conversation about this story »

NOW WATCH: Four MIT graduates created a restaurant with a robotic kitchen that cooks your food in three minutes or less


'Halloween' easily wins the box office for a second-straight weekend, and has already brought in over $100 million domestically (CMCSA)

$
0
0

halloween universal

  • "Halloween" won the box office for a second consecutive weekend, earning $32 million.
  • That puts the movie's domestic total to an incredible $126.7 million (it was made for only $10 million).
  • This marks the first time a "Halloween" movie has hit the $100 million milestone.

"Halloween" looks like it's going to have major staying power as we get closer to its namesake holiday.

In its second weekend in theaters, the new direct sequel to the 1978 original won the box office with an estimated $32.05 million.

The Universal/Miramax/Blumhouse production took home the box office crown for a second-straight weekend and now has a domestic cume of an eye-popping $126.7 million (the movie was only made for $10 million).

This marks the first time a movie in the "Halloween" franchise has hit the $100 million milestone.

Most of the competition stayed away this weekend, leaving the few new releases like the Gerard Butler submarine thriller "Hunter Killer" ($6.6 million) and the latest title from Rowan Atkinson's tired spy spoof franchise "Johnny English Strikes Again" ($1.6 million, though it's earned over $100 million overseas) having no chance up against Michael Myers.

Though on the specialty release side, Amazon Studios' "Suspiria," the remake of the horror classic by Dario Argento, took in the top per-screen average of the year with $89,903 on two screens.

"Halloween" will have its first major test this coming weekend as titles like like Fox's "Bohemian Rhapsody" and Disney's "The Nutcracker and the Four Realms" hit the multiplexes.

SEE ALSO: 'Bourne' franchise producer Frank Marshall told us the chances Matt Damon and Jeremy Renner will team up in a movie

Join the conversation about this story »

NOW WATCH: How 'The Price Is Right' is made

Playing these classic horror games will set the perfect mood for Halloween

$
0
0

Friday the 13th

It's the season for scares and no horror movie can match the feeling of dread that comes from immersing yourself in the right horror game.

Those who find themselves screaming at the survivors during scary movies should find themselves at home with the interactive experience games provide. Whether it's the slow-paced survival of "Resident Evil" or the constant waves of monsters in "Doom," horror games place the player at the center of the story and force them to find their own keys to survival.

Here are some of the best horror video games to test your mettle this Halloween:

SEE ALSO: The creators of 'Fortnite' just landed $1.25 billion in new investments, the largest ever financing round for a video game company

"Alien: Isolation" (PS4/Xbox One/PC)

Much like the movie it's based on, "Alien: Isolation" thrives on a game of cat and mouse between the player and the xenomorph monster. The alien cannot be killed during the course of the game, forcing the player to constantly find new ways to escape the prowling creature on a deserted space station.

Even when the monster is a safe distance away, the station's empty corridors are haunting; diaries and messages left by the former residents weave a larger horror story about colony's demise.



"Resident Evil HD Remaster" (PS4/Xbox One/PC)

The original "Resident Evil" is a staple of survival horror with an influence that continues to resonate in modern games. The HD remaster fully retains the structure of the original, complete with its fixed camera angles and tank-like controls. "Resident Evil" forces players navigate a sprawling mansion with limited resources and complex puzzles while dodging mutated zombies, sharks, and worse.



"Until Dawn" (PlayStation 4)

Until Dawn" is a horror game that plays like a movie. As the story rolls along, players make decisions with different characters in the game as they're pursued by a monster. Each choice can mean life or death for the specific cast members, and the number of characters who survive is entirely dependent on how the game is played.

Despite the movie-style narrative, "Until Dawn" has a healthy amount of gameplay, taking about eight hours to complete on average.



See the rest of the story at Business Insider

Google's new video-game streaming service could mark the beginning of the end for gaming consoles

$
0
0

Assassin's Creed Odyssey

  • Google's ProjectStream lets you play blockbuster video games with your internet browser, if you've got a strong enough internet connection.
  • Using ProjectStream, the visuals and controls of "Assassin's Creed: Odyssey" match the look and feel of playing the game on PlayStation 4 or Xbox One.
  • If ProjectStream and other cloud gaming platforms can provide a streaming experience that feels consistent with playing on console, they can lower the price of entry for high-end video games by hundreds of dollars.
  • Cloud gaming will eventually kill consoles if it can provide gamers with a healthy library of streaming games at the right price.

Earlier this month Google rolled out a closed beta test for ProjectStream, a video game streaming service that lets you play high-quality video games via the Chrome browser. The beta test includes just one game, the recently released "Assassin's Creed: Odyssey."

Developed by Ubisoft, "Assassin's Creed" is the sort of blockbuster game that would traditionally require a $400 console or gaming computer to play. ProjectStream significantly reduces that barrier to entry; the sole requirement is a 25 mbps or faster internet connection, and controllers are optional.

Having already played "Odyssey" on PlayStation 4, I was skeptical of how ProjectStream would compare to the console experience. After all, ProjectStream isn't the first cloud-based video game streaming service and the technology hasn't been a hit so far. Sacrificing graphic-quality or settling for less responsive controls has felt like a requirement for past cloud gaming services, and performance varies greatly depending on the game. Given that "Odyssey" is a brand new game with a huge open world, I was skeptical whether ProjectStream would be able to keep up.

Playing for the first time on a MacBook Pro, my concerns were quickly put to rest. At its best, ProjectStream's version of "Odyssey" felt identical to playing on PlayStation, the game immediately recognized the PlayStation 4 controller I connected via Bluetooth and showed the correct button icons on screen. There was no noticeable delay in the controls and the visuals seemed overall consistent with what I saw on PS4, though "Odyssey" does have additional support for 4K and HDR on consoles and PC.

I tried ProjectStream with three different computers with three different network scenarios; a 2017 MacBook Pro on 250 mbps wifi, an HP hybrid laptop on a 50 mpbs wifi connection, and my gaming PC with a 970 GTX graphics card on a 1 gbps connection. The experience felt pretty much identical across the three computers, making their difference in processing power feel insignificant.

Running on the slowest internet connection, the HP laptop did experience some brief moments of instability where the image would appear somewhat pixelated and the controls would freeze, but the game would return to normal after a few seconds. On my gaming PC and the MacBook, ProjectStream was essentially flawless.

Assassin's Creed Odysessy

Consistency is the most encouraging factor of ProjectStream. Knowing that the experience playing via the Google Chrome browser matches console gameplay regardless of the computer  I'm using — as long as the internet speed if fast enough — is great motivation to leave my PlayStation version of the game behind. ProjectStream also carries my game save over automatically so I can easily continue where I left off, whether I'm playing at work, at home, or at a friend's house. Unfortunately ProjectStream doesn't work on smartphones or tablets just yet, but it would be surprising if Google can't find a way to make the service functional on their own Android devices.

ProjectStream represents a convincing jump in cloud gaming technology at a time where gamers are wondering if the next generation of video game consoles will prioritize streaming content over traditional media. ProjectStream takes advantage of Google's massive server infrastructure and development resources, showcasing a beta product that gamers can be confident in. But even if the technology can match the experience of an Xbox or PlayStation, the next important step will be finding a way to deliver a full library of new and old video games at a price that makes sense.

PlayStation Now

Google will also be competing head-to-head with endemic video game brands as it enters the game streaming space. So far the most functional cloud gaming options have been Sony's PlayStation Now and Nvidia's GeForce Now, but neither service feels like a true alternative to buying an expensive console or PC. PlayStation Now offers a preselected library with hundreds of games for $20 a month for PS4 and PC, but newer titles are not included. GeForce Now gives players access to specific titles they've already purchased for their PC library and charges $25 per 20 hours of streaming time. For reference, "Assassin's Creed: Odyssey" costs $60 to own and takes at least 30 hours to complete.

Shortly after the rollout of the ProjectStream beta, Microsoft announced its own cloud gaming platform, Project xCloud. Project xCloud will stream games to both PCs and mobile devices with a launch planned for 2019. Microsoft has already shown off touchscreen controls for tablets and peripherals to use Xbox controllers with smartphones. Microsoft already has a separate game subscription service with Xbox Game Pass, which currently players the ability to fully download games on PC and Xbox One instead of streaming them.

Project xCloud Phone Clip

During its 2018 keynote, Microsoft executive Phil Spencer teased that the new Xbox devices would make use of cloud gaming as well. Spencer said the company's goal with Project xCloud is to reach the two billion people playing games around the world, regardless of the hardware they play on.

It will take some time for publishers and gaming platforms to establish a market for streaming games, but ProjectStream has shown that the future of gaming will not depend on selling consoles; great games can be delivered right to your browser. The beta test for ProjectStream is accepting new players on an ongoing basis and will run through January 2019. Follow this link to sign up.

SEE ALSO: Google's ambitious new project could fundamentally change the way we play video games

SEE ALSO: Google will let some people play one of the biggest video games of the year for free, right from the Chrome browser

Join the conversation about this story »

NOW WATCH: Review: Google Pixel 3 and 3 XL are the best smartphones you can buy right now

Jonah Hill delivers one of the most heartwarming movies of the year in his directorial debut 'mid90s'

$
0
0

mid90s_02 a24

  • Jonah Hill's directorial debut is a beautifully authentic look at a kid trying to find acceptance in LA.
  • If you're a fan of '90s music, get ready for this soundtrack.


We’ve seen Jonah Hill evolve from playing the comedic roles to impressive dramatic performances, and now we are about to witness his latest evolution: being a director.

With the release of "mid90s" (opening October 19), Hill has created one of the most heartwarming movies of the year as we follow the life of young teen Stevie (Sunny Suljic), as he tries to find the acceptance and love that he can't get at home.

Set in the (you guessed it) mid-1990s, Stevie is an LA 13-year-old who spends most of his time wanting to gain the acceptance of his older brother, Ian (Lucas Hedges), but instead gets beat up by him. With his mother (Katherine Waterston) never around, Stevie spends most of his time away from home and that hunger for friendship finally lands him at a skate shop.

There friends Ray (Na-kel Smith), F---shit (Olan Prenatt), Ruben (Gio Galicia), and Fourth Grade (Ryder McLaughlin), spend their days skating and teasing each other.

Stevie is instantly drawn into their world and finally finds acceptance when, while hanging to the side while they all skate, Ray asks him, "Go fill up this jug of water." Stevie grabs the plastic jug and races to the faucet to fill it as quickly as he can. That simple sequence sets the tone for the entire movie. That one small gesture of recognition proves to Stevie that someplace in this world he actually belongs.

Now that's not to say that "mid90s" doesn't have a little edge to it, because it certainly does. Hill is introducing us to the skate culture, not the Boy Scouts. We watch as Stevie drinks and smokes with the guys, hooks up with a girl, and takes a really nasty fall off a roof while trying to show off his skating skills. And then there are his troubles at home, which get really dark at one point. But through it all, Hill brings it back to friendship and how even when things are at their most dark, friends are there to pick you up.

Hill has an incredible eye for talent, as he casts an unknown group of actors to play his leads, and all of them give a very improvisational feel.

And then there's the authenticity of the movie itself. Shot on Super 16mm with a 4:3 aspect ratio (meaning the screen is going to be narrower than most movies you see in theaters), it beautifully captures an era when smartphones and social media were on no one's minds. And the music of the era is everywhere, from the Wu-Tang Clan to Seal's "Kiss From A Rose."

Though there have been many comparisons to Larry Clark's iconic 1995 movie "Kids" when talking about "mid90s," in actuality this is the anti-"Kids" movie. Though both look at young kids in a don't give an f--- culture, Hill sets his apart by making it so inclusive. His characters just want to have a good time.

It's one of those rare stories these days that looks at the beauty of life, rather than the parts that suck.

 

SEE ALSO: 24 movies coming out soon that are major Oscar contenders

Join the conversation about this story »

NOW WATCH: How 'The Price Is Right' is made

This new 'Game of Thrones' game kept me locked to my phone for hours, and I've yet to survive the winter.

$
0
0

Reigns: Game of Thrones

  • "Reigns: Game of Thrones" is a strategy game that lets players rule Westeros from the Iron Throne with one of nine rulers.
  • Much like the show, the ruler's decision making is constantly put to the test, and mismanaging the kingdom could lead to death, or worse.
  • With nearly 30 different endings, the game offers some fun ideas on where the series might be headed in its final season.

The final season of "Game of Thrones" isn't due out until next year, so I've decided to bide my time by playing "Reigns: Game of Thrones." Devolver Digital's strategy game for smartphones and PC is a great match for the witty dialogue and political intrigue of "Game of Thrones" television series and it rewards dedicated fans for their knowledge of the show.

Reign Game of Thrones Rulers

"Reigns" lets you select one of nine leaders from the series to rule the Iron Throne for as long as you can. Whether your chose Jon Snow, Cersei Lannister, or a another ruler, the king or queen is faced with nonstop decisions that impact four factors in the kingdom: military power, faith in religion, national wealth, and the people's morale. Decisions are made with a simple swap to the left or the right, but as the game goes on, consequences can quickly become dire.

If the leader dies their reign ends, and you'll need to choose a new leader to start from the beginning. In order to be successful the leader must balance all four factors; letting any one factor run empty or grow unchecked for too long will lead to the ruler being assassinated, or worse.

Reigns Game of Thrones Cersei

While playing "Reigns: Game of Thrones" doesn't require any prior knowledge of the series, those who aren't fully caught up with the world of Westeros should be ready for major spoilers. The game is set after the most recent season of "Game of Thrones" and is filled with references to major and minor events from the show thus far. Each ruler has their own perks to reflect their personality on the show, and playing to their strengths can unlock secrets and special abilities. While the game takes some liberties to place the different rulers on the Iron Throne, the storylines and dialogue from the game provides some fun ideas on where the series might be headed during its upcoming final season.

Reigns: Game of Thrones

Every playthrough of "Reigns" offers a different experience, even when you pick the same ruler. Each time you start over the order of events will shift ever so slightly; changing your responses will open new paths in the story and reveal familiar characters. "Reigns" has 29 different endings for its nine rulers, ranging from gruesome deaths to total triumphs. There are another 49 "royal deeds" to accomplish during the course of the story, adding extra goals to every playthrough.

Reign: Game of Thrones Royal deeds

"Reign: Game of Thrones" came out for iOS, Android and PC on October 18 and is the third game in the "Reigns" series. The first game "Reigns," and the follow-up "Reigns: Your Majesty" feature the same style of gameplay without the extra "Game of Thrones" flavor.

SEE ALSO: "Reigns" is a fun smartphone game that combines Tinder with "Game of Thrones"

Join the conversation about this story »

NOW WATCH: A cybersecurity expert showed us how hackers can tap into an office phone and listen to everything you're saying

Take a look behind the scenes of 'The People's Court' to see how TV court shows really work

$
0
0
  • Court shows have been a staple of American entertainment since the Golden Age of Radio.
  • "The People's Court," which began in 1981, started a whole new era: arbitration-based reality shows.
  • But are the cases we see on TV court shows real? Are the participants paid? Are these even real judges?
  • Insider visited the set of "The People's Court" and spoke to Judge Marilyn Milian to find out how these shows actually work.

Following is a transcript of the video.

Narrator: One of the best things about staying home from school as a kid was watching daytime court shows. My personal favorite? "The People's Court." Judge Milian is electric, and the cases are always so ridiculous.

Judge Milian: Where was your cart? By the watermelons, with you, or where the opening is? Okay, no, no.

Narrator: But what if I told you that this is not an actual courtroom? And when a person loses a case, they don't even have to pay the settlement. So what's actually going on?

Court shows have long been a staple of American television, but they didn't start on TV. The first court shows popped up in radio's golden age. The early programs were typically reenactments of real court cases.

Radio: There's no telling what would happen to him or his life if he resists the authorities.

Narrator: But "The People's Court," which began in 1981, started a whole new era: arbitration-based reality shows. Presiding since 2001, Judge Marilyn Milian is the show's longest serving host and the first Latina judge to host a nationally syndicated court show. Before "The People's Court," Milian was an assistant state attorney in Florida and was appointed by Governor Jeb Bush to the Miami Circuit Court, working in the criminal division.

Judge Milian: I had a gubernatorial appointment, and it was a sure thing. And I had crossed every "T" and dotted every "I" to make sure that I had an upward trajectory in the judiciary. And I was giving all that up if I decided to join what many in the law see as the frivolity of television. Of course, now that it's been on the air 20 years, I'm a genius. But back then, people were worried about what it is that was gonna happen in my career.

Narrator: What you see on the show are real small claims cases. They're lifted directly out of the courthouse to be arbitrated by Judge Milian.

David Scott: If you get your case in small claims, there's one judge, and there's three or 400 cases that show up on any given day. And it's very hard, impossible, for that one judge to get through those cases, so they offer you something called binding arbitration. And that is, you can go to a lawyer, plead your case to the lawyer with the person you're suing, and that lawyer will decide the case. It's binding arbitration, there's no room for appeal, and you have agreed, and the defendant has agreed to allow this arbitrator to hear your case. And that's basically exactly what we do.

Narrator: So how do they pick the cases?

David Scott: This is like panning for gold. We go out, and we go to all these courts, and we get all of these cases, and we sift through them. We love a relationship case. We love where an ex-wife is suing their ex-husband. We love cases where there's a lot of personal kind of stuff along with the legal stuff. So it's the personalities that we're looking for. We're looking for a good argument, we're looking for a good defense. That's how we select our cases.

Judge Milian: We shoot to bring the public the juiciest cases we can get. They were juicy then, they're juicy now, and hopefully they'll continue to be juicy.

Narrator: The show covers travel expenses for the participants and will pay the settlement if the case is ruled in your favor. But for most cases, it's not really about the money.

Judge Milian: We once had a guy who paid $40 to file a case over a $5 lottery card. And it was a thing of beauty, because what it shows you is that small claims is never about the money. It's always about the principle.

Narrator: So you've got a case. How do you get the judge on your side?

Judge Milian: Absolutely the biggest mistake people make is coming unprepared. If you want a judge to rule against somebody and believe you, you have to bring evidence. You can't just show up with your flapping gums. People will just walk it in there, they're insulted that you didn't just take their word for it. It's insanity. I think people think that because they believe their story so much, all they have to do is come forward and say it, and everyone else is gonna see it their way. But when there's two sides involved, you have to prove what it is you're saying.

Join the conversation about this story »

A $100 mini version of the original PlayStation is on the way with 20 games packed in — here are the games included

$
0
0

Playstation Classic

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.

The PlayStation Classic is scheduled to launch on December 3 — here's what we know:

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

Sony announced the PlayStation Classic earlier this year. It comes with 20 games. They are: 1. "Final Fantasy VII" ...



2. "Wild Arms"



3. "Tekken 3"



See the rest of the story at Business Insider

The 5 most anticipated TV shows returning in November

$
0
0

house of cards

Some fan-favorite TV series are returning in November, as the year winds to a close.

Every month, Business Insider looks at the most anticipated returning shows thanks to data from television-tracking app TV Time, based on its 13 million global users.

In November, the final season of "House of Cards" (without Kevin Spacey) premieres on Netflix, along with the fourth season of "Outlander" on Starz.

5. "StartUp" (Season 3) — Sony Crackle, November 1

startup

Description: "After a year of extraordinary growth, ArakNet’s unregulated network becomes the target of NSA Agent Rebecca Stroud (Mira Sorvino) who vows to infiltrate it at any cost. The arrival of this new adversary, coupled with the mysterious return of Izzy from her ill-fated journey to Cuba, creates an extraordinary pressure cooker and ultimately turns our heroes against one another. A desperate banker, a Haitian-American gang lord, and a Cuban-American hacker are forced to work together to unwittingly create their version of the American dream - organized crime 2.0."

4. "Room 104" (Season 2) — HBO, November 9

room 104

Description: "An anthology series set in a single hotel room, where every guest who comes to stay reveals a unique set of circumstances and quirks. From the Duplass Brothers."

3. "Mars" (Season 2) — National Geographic, November 12

mars

Description: "The story of the quest to colonize Mars as told from the perspective of the crew of a fictitious mission in 2033."

2. "Outlander" (Season 4) — Starz, November 4

outlander

Description: "Season Four of 'Outlander' continues the story of time-travel 1960's Claire Fraser and her 18th century husband Jamie Fraser as they try to make a home for themselves in the rough and dangerous 'New World' of America."

1. "House of Cards" (Season 6) — Netflix, November 2

house of cards

Description: "Ruthless Congressman Francis Underwood will stop at nothing to ascend the ranks of power in Washington, D.C., in this wicked political drama."

SEE ALSO: The 5 most anticipated new TV shows premiering in November, including Julia Roberts' first show

Join the conversation about this story »

NOW WATCH: How 'The Price Is Right' is made

A $100 mini version of the original PlayStation is on the way with 20 games packed in — see it in action right here

$
0
0

Twisted Metal (PlayStation 1)

  • Sony's got a brand new PlayStation in the works: the $100, adorably miniature PlayStation Classic console.
  • The console doesn't play CD-ROMs or music CDs. Instead, it comes with 20 classic PlayStation One games built in.
  • Sony revealed the full lineup of games on Monday alongside a debut trailer.

Sony's got a brand new PlayStation console coming out on December 3: the $100 PlayStation Classic, a miniaturized version of the classic PlayStation 1 console.

It's not an exact replica of the original console from the mid-'90s. Instead, it's a lookalike with completely different internal hardware:

Playstation classic size comparison

There's no CD-ROM to read your PlayStation 1 games, and the RCA ports in the back have been swapped for the far more modern HDMI equivalent. It's a miniaturized re-creation, along the lines of Nintendo's ridiculously popular NES and Super NES Classic Edition consoles.

You can even hold it in your palm!

Playstation Classic

It may be a PlayStation 1 in looks alone, but it also plays a smattering of PlayStation 1 games. 

There are 20 games in total built into the console, and Sony revealed the full list on Monday. It ranges from the obvious ("Resident Evil," "Metal Gear Solid," "Twisted Metal") to the obscure ("Intelligent Qube"). 

But it's been decades since many of us last played these games.

Thankfully, Sony put together a video showcasing all 20 games — a nice refresher (or introduction!) which we've embedded right here:

SEE ALSO: A $100 mini version of the original PlayStation is on the way with 20 games packed in — here are the games included

Join the conversation about this story »

NOW WATCH: First impressions of the Google Pixel 3 and Pixel 3 XL

Oliver Stone says comparing 'disaster' of Bush's presidency to Trump is ridiculous and 'trivializes the situation,' as he reflects on his biopic 'W.' 10 years later

$
0
0

oliver stone w

  • Oliver Stone spoke to Business Insider for the 10th anniversary of his George W. Bush biopic, "W."
  • The filmmaker reflected on "W." and the impact of US militarization, compared the Bush and Trump administrations, and discussed his recent documentary series, "The Putin Interviews."

 

As a veteran of the Vietnam War, Oliver Stone has a distinctly critical view of war and of US militarization. 

Reflecting on the legacy of George W. Bush's presidency as it relates to our current socio-cultural moment, Stone spoke to Business Insider in a recent phone interview for the 10th anniversary of his 2008 Bush biopic, "W."

Labeling Bush the "worst president we've ever had," Stone discussed the release and reception of "W." and how he approached it, along with the two other presidential biopics he's released in "Nixon" and "JFK."

The filmmaker also touched on his recent documentary series of interviews with Vladimir Putin, "The Putin Interviews," and how increased militarization in the US is "far more dangerous" than President Trump. 

This interview has been lightly edited and condensed for clarity.

John Lynch: I've read that you sort of rushed to produce "W." Why did you feel you needed to make and release it during Bush's presidency?

Oliver Stone: Actually, no. I made it at a time that I felt we should make it. In 2008, we were in the middle of the Iraq War. We were not going to get out. I saw that it was a complete disaster. So, Stanley Weiser and I wrote with the idea that the film would end in 2004. We were not trying to make a current history. We were going back four years. When he goes into Iraq, the film ends because we know it's going to go badly. We kind of leave it at that. He has failed. We sense that in the parallel story with his father, and so forth, and in his own life.

Although he's an empathetic character, I think we understand him because he's stupider than us in some ways, or at least much of the audience. You kind of feel like he's a klutz. And it was always done as kind of a satire, somewhere on the edge of humor, so it wouldn't be rubbing raw in the political wounds of the country. That was the idea. And in that sense, it was never intended [to be] as heavy a film as "Nixon" was, or "JFK," for example, because frankly, he wasn't at that same level of thought. I called him at the time a two-dimensional character, as opposed to Nixon's three dimensions. I was trying to explain that he is a victim of his own limited worldview. He sees the world as a black-and-white cowboy movie, but the people around him, Cheney and so forth, are a different breed and darker. 

But the idea was, get it out, because it's just not going to get any better. We could have released it in Obama's administration, but the film was made at a budget when Lionsgate was not as big a company. That was pre-"Hunger Games," as I remember. So they were in a rush to get it out because they thought it was timely. Now [laughs], that was really bad thinking because, frankly, no one foresaw the economic crisis of 2008, which was a disaster in September, and if you remember, we came out in October. We were finishing making the film and then the economics hit. I was hoping the opposite. I was hoping that it would be an argument in 2008 between Obama and McCain about national security. But that argument got buried in the dramatics of the economic meltdown. 

george w bush mission accomplished iraq

Lynch: You said in an interview at the time of the film's release that you wished Bush had enlisted in Vietnam because he "would have seen history in a different light" and "didn't understand the nature of war." Could you elaborate or reflect on that?

Stone: Well, that's always the case. John Kennedy had been to war. He'd been in a very tough situation, and he'd seen men die. He understood the gravity of it. And he was the last president, as I know, who served. No, Bush did. The father. George H.W. Bush. But there was a seriousness about him, and you didn't see that in his son, George W., who skipped Vietnam. He dodged it with his shaky Texas airguard bulls---. Or Alabama, wherever he was. It was a horrible story, and I think CBS got killed for it, but they really had the story. But that's another story. 

Bush was a juvenile about it. As was Cheney, who had a deferment. Rumsfeld did serve, but he's a bloodhound, one of those right-wing guys who'll never change. But Cheney and Bush were living in another reality, where you can move things around, invade a third-rate power like Iraq, and call it a victory, and "Mission Accomplished," and all that, and in the process destabilize the entire Middle East, which is still going on. The same thing is true of Trump, which worries me. And, to some degree, Obama. But Trump himself, he dodged Vietnam with some kind of medical excuse, as I remember. You know, there's reason to worry. We need people who are tested and have seen battle. Not that we want right-wing people like McCain in office. Absolutely not. But we need people who have heart and soul after war. It's very important that they serve the country. 

josh brolin in w

Lynch: Many reviewers at the time of the film's release called "W." a sympathetic portrayal of Bush, but I really think it's a stark reminder of his failures. Especially now, when there's almost a desire in the media to portray Bushas a sympathetic figure, compared to Trump — how do you see your portrayal in retrospect?

Stone: Jesus Christ. What a distortion that is. First of all, let me just say, it was done as an empathetic portrayal, which is to say, as a filmmaker, I'm making a drama. I'm not making a documentary. So, I'm walking in the shoes of. As a dramatist, that's my job, to understand the person. Nixon, also, I was not in favor of or sympathetic to, but I certainly tried to understand him. The same is true of W. It's very important to realize that there's a difference between empathy and sympathy. But that was unfortunately not understood. Certainly, in all my public statements, I was not at all in favor of anything he did. He was a disaster for the country in his reaction to 9/11. Everything he did set the whole tonality of this century. 18 years of Bush. Worst president we've ever had. But in line with the mentality of Reagan and the people who started it in the 1980s. 

To say that Trump is similar is ridiculous because it trivializes the situation. Trump could get more serious if he goes to war in Iran, absolutely. But we're not there yet. He's got enough nutcases around him between Bolton and Pompeo that I would worry very, very much. But to say that he's George Bush is to miss the point. You've got to look back at George Bush, and look at the movie, for example, and see what an idiot we had as a president, and understand what a mess he put us into. We have not gotten out of Iraq. We have not gotten out of Afghanistan. We have not gotten out of the War on Terror, this global war on terror, which is the greatest fiction since the Cold War back in 1945. It drove me crazy, his administration, and it made me do "Untold History of the United States" in 2008. It took me until 2013. Came out on Showtime, 12 hours long. It's on Netflix now, and Amazon, and so forth, and it's the most powerful documentary I've ever made. It goes from 1896 to 2013 with Obama. Obama could not make a countermove. That was the problem. Obama could have been the difference maker, but he wasn't. He followed the policies of Bush, as Ari Fleischer himself said, in 2012 or '13. He said, the guy has done what Bush would have done. 

Lynch: Bush recently reappeared to whip votes for Brett Kavanaugh's confirmation. You tweeted recently that Kavanaugh is "everything I disliked about Yale when I left in '65." I was wondering, is Bush that too? And what is it about Yale that you disliked?

Stone: Oh, it wasn't specific to Yale. I went there. I got in, and my father had been. I never met Bush there, but he is a kind of entitled personality that was one of the reasons I left. I felt there was a lot of that going on. It was all-male when I went there, too. So you had a lot of legacy candidates, people who were C students, who in a way had it made, who knew where they were going in their life. I was the opposite. I was 19, and I didn't know what I wanted to do with my life. I was very much into experience and finding out. So the best thing I ever did, probably, was leave after my freshman year.

But I ran into Bush later in time, when he was running for office, and he was the one who reminded me that he was there with me [laughs]. I mean, in person, you can't not like him. He's a character. He's got a comedic side, you know. He's kind of goofy, is what I'm trying to say, like he was in the movie. You won't dislike him like you would a Cheney or Rumsfeld. But that doesn't make him any good. 

Lynch: In making "W.," you drew on the behind-the-scenes books and exposés that were written about Bush's administration. You've touched on this a bit, but how do you think those accounts compare to the accounts we've seen thus far on Trump?

Stone: I don't know quite how to answer that, because the books on Trump so far have not been heavy. I haven't read them all, but they seem more like out for a quick buck, you know, a shark bite, blood in the water kind of thing. Because it's easy with Trump. The problem with Trump is that he absorbs the news. And as a result, it trivializes the news. So now, in this media, we all end up talking about Trump, which is a huge mistake, as opposed to talking about the forces, the "macro" forces that are running the thing that are far more dangerous than this guy.

He's dangerous, yes. But having a military budget the size we do in proportion to every other country in the world is insane. I keep going to the militarization of this country as being the most dangerous thing that's going on, in my opinion, having been in the military. This thing we do, naturally, where we just hike the budget and give the military everything they want, and they spend it and waste it, and it's not going into the health of this country. That is the major thing that is going wrong. Health, education, welfare, all these things are crucial, and we've lost sight of that. So I think that's far more revolutionary and radical than a contempt for management, for government, for the good things that the government can do. 

Oliver Stone Putin interviews

Lynch: Your most recent work, "The Putin Interviews," I found riveting, and toward the end, particularly hard-hitting. What did you take away from his perspective of power?

Stone: Whose perspective?

Lynch: From Putin's.

Stone: Ah, "particularly at the end," you said? Okay. I'll tell you, Putin is the most mature statesmen in the whole world right now. He's been there for four American presidents, since Clinton. He's learned in office. He was a technocrat when he got in on Yeltsin's appointment, and he worked his way into this knowledge. He's been everywhere, met everybody. And he sees the world as needing balance. It's not a uni-polar world, dominated by the United States. He's been very clear about that since he made that speech in Munich in 2007. He's been very clear that we need balances of regional power. Unfortunately, the United States just doesn't want to believe that.

That's what makes it a dangerous situation, because we're slipping as an empire, economically — certainly not militarily, but we're slipping. And it's our military side that scares the sh-- out of me, because when you slip, when you feel like you're no longer number one, as we tend to be arrogant, that's when you become very dangerous. Somehow we have to learn that we don't have to be number one. We can be partners with the world [laughs]. That's what I think Putin sees, very clearly. And he's trying to counter it in every way he can to keep his own region alive. He's in jeopardy. I mean, we have had our sights on him heavily since 2007 or 2008.

Lynch: You did press Putin, though, in the interviews, about why he's stayed on for as long as he has, comparing him to other world leaders who have held power for decades. Why did you push him on that aspect?

Stone: Well, it's certainly a question that Americans will automatically think of him as a dictator and so forth. I don't see him as that at all. I see him as a man who is an authoritarian, and he's achieved great respect in Russia. By the polls in Russia, which are supposed to be accurate, everyone has said that they were internationally, he is popular. Not so much because of his pension plan, now, but he is very popular because of what he's done. And he did it by the law of Russia, which was of course, two terms, and then he became prime minister, and then went back to being president for two more. So he's doing his fourth term, which is what Roosevelt did, by the way. I think he's been in the equivalent sense a Roosevelt for that country, and he's very much admired. I don't think it's going to be easy for him to go beyond his four terms. I think he's going to have issues. But I do think he's created enough of a political system that will work in his absence. He doesn't have to rig elections, no. 

Lynch: In your films on US presidents, you've said that Nixon was a three-dimensional character, Bush a two-dimensional character, but that you were able to find humanity and empathy in both as characters. Could you find that same level of humanity in Trump to do a movie on him, or would you have no interest?

Stone: Sure. I mean the interest is something else, because I don't know if I do. But certainly, I think everyone has a human side. Even the worst of them, the Stalins, and the Hitlers. I mean, come on, everyone has humanity. No, absolutely. But whether I want to spend the time doing it, no. And also, whether you could do it, because financially the system has changed for me. It's become worse, and partly because of Clinton's communications act in 1995, that was no favor to the film business. In other words, everything became bigger, more monopolistic. You can't have corporations controlling everything that's being made in America, on television and in movies. You can't. These corporations are killers.

If you look closely, after 2001, it's harder and harder to be critical of the United States, in our system, in our television or film system. You can show killing, you can show everything, rape, violence, all that, but you cannot criticize the government and the military, and so forth. These are control points. [sighs deeply]. I mean, I got into trouble just for doing documentaries on Chavez and Castro, and the South American revolution in 2008. 

Lynch: Is there anything you can tell me about what you have in the works going forward, what you're interested in?

Stone: Well, not really. I'm kind of quiet about that. I've been quiet. It's been a long haul. I've done 20 movies. "Snowden" was my last one, and that was a tremendous amount of work, and very critical of our cyber warfare issues, and so forth. And Snowden is an admirable figure. As is Julian Assange, who has completely been black-balled here. But the point is, that "Snowden" film was made with difficulty with French and German money, and very little American money, and didn't get a great distribution either, in America. So, it was tough. It's tough to make those kind of movies. They take a lot out of you.

I did "Putin," as you know. Thank God Showtime gave it a break. Where am I going to go now? I don't know. We'll have to see, if it's doable. Also, I'm 72 years old. I'm not that young [laughs]. But I don't know that you can say things that you could say. We have more choice, yeah, but it's a narrower target. They don't allow you to do things. Unless you're doing things that are socially acceptable, like documentaries attacking Putin, yes, that's fine, you can do that. Or attacking Trump, and so forth. But there is sort of a political correctness in the air that is very difficult for me to work in.

SEE ALSO: A 1991 Oliver Stone film helped lead to the release of the JFK files 26 years later

Join the conversation about this story »

NOW WATCH: How 'The Price Is Right' is made

'Bodyguard' is the latest hit British TV show that Netflix has streamed to American audiences, and it has a 100% on Rotten Tomatoes

$
0
0

bodyguard

  • "Bodyguard" is the latest hit British TV series Netflix is streaming outside of the UK.
  • The show stars "Game of Thrones" actor Richard Madden and has a 100% critics score on Rotten Tomatoes.
  • Netflix regularly works with international production companies to nab global distribution rights, and has acquired a number of other British shows, including "The End of the F---ing World."
  • It's a strategy that works for Netflix and British television networks: the shows are introduced to a wider audience, and they can reel in potential subscribers.

 

Netflix has added to its impressive catalog of British TV series with "Bodyguard," a new thriller starring "Game of Thrones" alum Richard Madden and "Peaky Blinders" actress Sophie Rundle.

The series debuted on the streaming giant on October 24 and has a 100% Rotten Tomatoes critic score as of Monday. Netflix describes the series this way: "After helping thwart a terrorist attack, a war veteran is assigned to protect a politician who was a main proponent of the very conflict he fought in."

Indiewire called it "a gripping and thoroughly entertaining adventure that’s emotionally deft." The Hollywood Reporter said it's "six-plus hours of pulse-pounding action and brain-bending twists."

The show originally premiered on the UK's BBC network in late August and grabbed viewers with its twists and turns. It's the latest British series to be streamed outside of the UK by Netflix, which regularly works with international production companies to acquire global distribution rights, according to Deadline, which first reported the "Bodyguard" deal in September.

Other British shows that Netflix has acquired include cult hit "The Frankenstein Chronicles," which stars another former "Game of Thrones" actor, Sean Bean; "Collateral," starring Carey Mulligan; "Wanderlust," starring Toni Collette; and "The End of the F---ing World," which Netflix recently renewed for a second season.

It's a strategy that has worked in both Netflix and UK networks' favor, as Netflix is able to introduce the shows to a wider audience. Some series don't manage to grab audiences in the UK, but once streamed on Netflix, shows like BBC's "The Last Kingdom" found success. Its third season debuts November 19.

"The first season didn’t break through on BBC America, but it did on Netflix in the US,” executive producer Gareth Neame told The Guardian in April. "Their mission seems to be to back storytellers and let them get on with it."

And hidden gems are just as integral to Netflix's business strategy as its massive hits like "Stranger Things."

“While it might be inconceivable for an old-style network to greenlight a series that appeals to 0.5% of its viewers, for Netflix, if that series is the reason that 0.5% choose to subscribe, that is enough to justify it,” said Joshua Gans, an Australian economist, in the Harvard Business Review last year (via The Guardian).

SEE ALSO: Interest in Netflix's 'Luke Cage' and 'Iron Fist' dropped dramatically over time, and its other Marvel shows could also be in trouble

Join the conversation about this story »

NOW WATCH: How 'The Price Is Right' is made

Netflix's 'The Haunting of Hill House' cast revealed what disturbed them most about the show

$
0
0

haunting of hill house

  • The cast of Netflix's hit horror series, "The Haunting of Hill House," revealed what makes the show so disturbing in an interview with Spot.
  • Oliver Jackson-Cohen said the show is "grounded in reality."
  • Kate Siegel said that the family dynamic is the "root fear."

 

The cast of Netflix's new hit horror series, "The Haunting of Hill House," has said that they were seeing things and couldn't sleep during filming. But what exactly makes it so disturbing?

In an interview with Spot, actor Oliver Jackson-Cohen, who plays the adult Luke, said that the show is "grounded in reality." 

"We are talking about ghosts and floating tall people and people with bent necks and all of these ghosts, but actually you swap that out for anything else traumatic as a child, and it kind of holds up," Jackson-Cohen said. "What's more terrifying is the state that this family is in and the dynamics and how these events have completely shattered and completely changed the course of every single sibling's life."

The cast also said that the family aspect of the series is what makes it even more terrifying. 

"It keeps it real," said Victoria Pedretti, who plays the adult Nell.

"That's the root fear," added Kate Siegel, who plays the adult Theo. "You don't want to lose your family. And there's a million ways you can put your family in danger. There are external things like ghosts or monsters like in 'A Quiet Place' and there are internal things like family dynamics in 'Hereditary.' Or there are both like 'The Haunting of Hill House.'"

All 10 episodes of "The Haunting of Hill House" are currently streaming on Netflix.

Read more of Business Insider's coverage of Netflix's 'The Haunting of Hill House':

SEE ALSO: 'Bodyguard' is the latest hit British TV show that Netflix has streamed to American audiences, and it has a 100% on Rotten Tomatoes

Join the conversation about this story »

NOW WATCH: How 'The Price Is Right' is made

Disney is pushing 'Black Panther' in 16 Oscar categories, and 'Avengers: Infinity War' in just 1

$
0
0

Black Panther

  • Disney is pushing "Black Panther" in 16 Oscar categories and "Avengers: Infinity War" in just one: visual effects.
  • The categories "Black Panther" is campaigning for include picture, director, actor, supporting actor, and supporting actress.
  • It's Marvel's biggest push into the Oscar race.

 

Disney reigns supreme at the box office this year with its superhero hits, but when it comes to the Oscars, it's betting everything on one of them: "Black Panther," the highest-grossing movie of 2018 in the US.

Disney is pushing the movie in 16 Oscar categories out of 24, according to its "For Your Consideration" website (via Indiewire), and its other Marvel blockbuster, "Avengers: Infinity War," in just one.

While "Infinity War" campaigns for only visual effects, "Black Panther" will be competing for a nomination in most major awards, including picture, director (Ryan Coogler), actor (Chadwick Boseman), adapted screenplay, original song ("All The Stars" by SZA and Kendrick Lamar), supporting actor, and supporting actress.

In the latter two categories, seven and four actors are being pushed, respectively, including Michael B. Jordan for his acclaimed performance as the villain Killmonger.

The Academy of Motion Picture Arts and Sciences briefly introduced a new category earlier this year, Best Popular Film, but quickly scrapped those plans in September after outcry against it. But Disney always had Best Picture in its sights, and was going to push hard for it either way.

Disney is campaigning other movies in numerous categories, such as "Incredibles 2" and the upcoming "Mary Poppins Returns," but "Black Panther" has already received major Oscar buzz. It's the first time Marvel Studios, which has never won an Oscar, has seriously pushed one of its movies in the awards race, as it hired an Oscars strategist to lead the campaign.

For a full list of what "Black Panther" is campaigning for, click here.

SEE ALSO: Warner Bros. triumphed over Disney in public sentiment after hiring James Gunn for 'Suicide Squad 2'

Join the conversation about this story »

NOW WATCH: How 'The Price Is Right' is made

Prominent music video director Joseph Kahn says he'll never work with Kanye West and calls the Kardashian culture 'hand in hand with the Trump world'

$
0
0

kim kardashian and kanye west

  • Music video director Joseph Kahn said he would "absolutely not" work with Kanye West.
  • He compared the culture that surrounds West and his wife Kim Kardashian to being "hand and hand with the Trump world" as both have a "lack of thought."

 

Music video director Joseph Kahn has worked with some of the most polarizing artists ever to hit the music scene over his almost 30-year career, including Lady Gaga and Eminem, but he said he draws the line when it comes to Kanye West.

Business Insider asked Kahn if he would ever agree to direct a music video for West if he was asked: "No, absolutely not," he said.

"I find the Kanye/Kardashian culture so — to me it's hand in hand with the Trump world," Kahn said, while promoting his latest feature film, "Bodied" (which opens in theaters on Friday and will be available on YouTube November 28). "There's a lack of thought that's masquerading as thought. It's using the power of brand as the power of thought. And if anything, I'm so immersed in the power of brands, I try to put thought in the brands and I don't see thought going on there. I just see crazy people flinging around and just trying to make money and call it thought."

Joseph Kahn GettyAnother artist Kahn works with regularly is Taylor Swift (directed music videos for “Wildest Dreams” and “...Ready For It?” among others), who has never had the best relationship with West since his legendary on-stage interruption of Swift at the 2009 MTV Video Music Awards while she accepted the best female video award. So there may be some allegiance there. But it certainly seems that West's support of Donald Trump — including the artist's recent pro-Trump rant on "Saturday Night Live," followed by his appearance at the White House where he hugged the president and said that wearing the "Make America Great Again" hat made him feel like Superman — is also behind why Kahn feels so strongly about not working with the 21-time Grammy winner.

"I choose who I want to work with," Kahn answered, when asked if it's been a conscious decision over the years not to work with West. "I have to be very careful what to use my skill set for. Everybody loves to make money, obviously, everybody loves to be comfortable, but you also have to be careful what you put out there. Look, I make silly music videos for a living, but I just want to make sure that I'm being responsible with the power that I've been given."

SEE ALSO: The American flag controversy around "First Man" isn't the reason it's struggling at the box office

Join the conversation about this story »

NOW WATCH: How 'The Price Is Right' is made


An analysis of the past 50 years of film ratings shows how much we love R-rated movies

$
0
0

halloween

The Motion Picture Association of America is celebrating 50 years of rating films, and it has released a report on the number of movies it has rated.

The majority have been rated R, and it's not even close. The MPAA has rated more than 17,000 movies R in the past five decades. Fewer than 5,000 have been rated PG-13, a rating introduced in 1984.

In total, the MPAA has rated 29,791 films, meaning that 57% are rated R. The MPAA said that 428 of its ratings had been appealed and that 165 actually had their ratings overturned. But the MPAA said fewer ratings (1% or less a year) had been appealed since the introduction of the PG-13 rating.

For a full breakdown of the number of films for each rating — G, PG, PG-13, R, and NC-17/X — see Business Insider's graph below:

mpaa film ratings

SEE ALSO: Disney is pushing 'Black Panther' in 16 Oscar categories, and 'Avengers: Infinity War' in just 1

Join the conversation about this story »

NOW WATCH: How 'The Price Is Right' is made

Craigslist founder Craig Newmark says there's a forgotten weapon in the online information war — and he's putting his money where his mouth is

$
0
0

craig newmark

  • In this op-ed, Craig Newmark, founder of craigslist and Craig Newmark Philanthropies, writes about why local news is vital to maintaining a healthy democracy.
  • He points out that many markets that used to be served by local newspapers have become "news deserts."
  • He outlines how he is putting his money where his mouth is by funding local news initiatives, particularly in New York City, which he thinks can serve as a model across the country.


We are in the middle of an online information war. The stakes for the US? A free press, an informed public, and strong democratic institutions. Fake news and misinformation flow through social and news media, conceived and distributed by bad actors and amplified by unaware consumers. And there are many news sites that attempt to drive traffic by playing to one side of the political spectrum or the other.

With the midterms approaching, it’s important that Americans can trust the press to deliver news on crucial civic topics. Many organizations, including Big Tech, are working on initiatives to avoid a repeat of the 2016 US presidential election, where misinformation was rampant. But one thing missing from this conversation is the importance of local news. Our communities need trustworthy, local coverage so that we can have a good, working knowledge of our government, our communities, and more. This helps to ensure the public is informed, and that’s critical to a healthy democracy. It produces thoughtful voters, citizens, and neighbors.

But at a time when we urgently need and deserve reliable sources of comprehensive local coverage, grassroots news organizations are closing their shutters at alarming rates. Since 2004, the US has lost nearly 1,800 newspapers, according to the recent study of UNC Chapel Hill’s Penelope Muse Abernathy. Up to 1,400 communities that had their own papers in 2004 are now entirely without news coverage, and there are almost 200 counties (of 3,143) that don't have even one paper. These communities – either where there are no sources of local coverage or where it’s hard to access daily, local information – are news deserts, and as you can see by Abernathy’s research, they’re becoming more and more common.

New York City provides a poignant example. For the last several years now, the media capital of the world has been on a painful journey toward becoming a local news desert. That’s pretty ironic, but not in the good or funny sort of way. With the Village Voice and countless other New York City news institutions closing down, coverage of critical beats, from immigration to criminal justice to transportation, have been, by necessity, reduced. Without the ability to fully and meaningfully cover local occurrences on a daily basis, important stories go untold, corruption persists, and our lives are impacted.

Despite the severity of these times, I’m hopeful because, in this city alone, there are several solid examples – existing and new – of trustworthy, rigorously fact-checked local reporting. And these have the potential to influence others and spread across the country. That’s why I’ve been putting my money where my mouth is by supporting local New York City journalism. I figure those who create honest journalism in this city of 8.5 million people can show the rest of the country, "Hey, this is how you do good work well."

One of those exemplars is New York Public Radio (NYPR). A real, local institution, NYPR is about providing New Yorkers with trustworthy local journalism in any medium, meeting people where they are – in a cab, on social media. It’s currently in the process of integrating and expanding WNYC and Gothamist, the digital-native local news outlet NYPR acquired in February 2018. During this process, it will expand the data news capabilities of the two and build out their digital production capacities. I’m also hopeful for THE CITY, a nonprofit online news organization launching later this year that will further build the local media ecosystem by providing breaking news and in-depth, nonpartisan coverage of New York City.

This push toward digital-first newsrooms is what can help an outlet 1) understand and adapt to audience needs, 2) diversify its business models, and 3) reach people with important news – big and small – as it breaks. It’s what will help local news organizations stay afloat while maintaining a high standard of ethical reporting, and that’s what our country needs right now. Producing and monetizing local news in this Digital Age is a complex problem to solve, but it’s mission-critical to protecting our democracy.

SEE ALSO: Facebook's biggest critic on Wall Street explains why he's convinced the company is going to keep sinking

Join the conversation about this story »

NOW WATCH: Christopher Wylie says he was pushed into traffic and assaulted after exposing Facebook's bombshell data scandal

From rich kid to first daughter: The life of Ivanka Trump

$
0
0

Ivanka Trump

Ivanka Trump has lived her life in the public eye.

Born to then real-estate mogul Donald Trump and model Ivana Trump, his first wife, she is now the president's oldest (and favorite) daughter.

The 37-year-old has been a business executive, runway model, socialite, doting mother, and now key adviser in her father's White House.

Here's a look back at her life:

SEE ALSO: Ivanka Trump describes her life as the daughter of a US president, running the Trump empire, and building her own brand

DON'T MISS: The meteoric rise of Hope Hicks: How a 28-year-old with no political experience found herself in Trump's inner circle

Ivana Trump was born in Manhattan on October 30, 1981. "Ivanka" is actually a nickname for her real name, which is the same as her mother's.

Source: Business Insider, Ivanka Trump



She is the middle child of Donald's first wife, Ivana, who was born in Czechoslovakia.



Her mother and father divorced in 1992 after a very public breakup when he cheated with Marla Maples, who would become his second wife. Ivanka was 11 years old.



See the rest of the story at Business Insider

The 5 hottest shows on Netflix and other streaming services this week

$
0
0

the haunting of hill house

In an age of streaming, audiences often binge their latest obsessions while waiting for the next one.

Every week, Parrot Analytics provides Business Insider with a list of the five most "in-demand" TV shows on streaming services. (The data is based on Demand Expressions, the globally standardized TV demand measurement unit from Parrot Analytics. Audience demand reflects the desire, engagement, and viewership weighted by importance, so a stream or download is a higher expression of demand than a "like" or comment on social media.)

This week's most in-demand shows include Netflix's "Daredevil," which just dropped a new season; the new hit horror series "The Haunting of Hill House"; and "Stranger Things," which is skipping 2018, leaving fans craving for its third season that will come to Netflix next year.

Below are this week's five most popular shows on Netflix and other streaming services:

SEE ALSO: There are early signs that Hasan Minhaj's 'Patriot Act' could succeed where other Netflix talk shows have failed

5. "Big Mouth" (Netflix)

Average demand expressions: 26,361,485 

Description: "Teenage friends find their lives upended by the wonders and horrors of puberty."

Season 2 premiered on Netflix October 5.



4. "Chilling Adventures of Sabrina" (Netflix)

Average demand expressions:  34,685,847 

Description: "Magic and mischief collide as half-human, half-witch Sabrina navigates between two worlds: mortal teen life and her family's legacy, the Church of Night."

Season 1 premiered on Netflix October 26.



3. "Stranger Things" (Netflix)

Average demand expressions: 35,038,051 

Description: "When a young boy vanishes, a small town uncovers a mystery involving secret experiments."

Seasons 1 and 2 are now streaming on Netflix; season 3 drops in 2019.



See the rest of the story at Business Insider

Data suggests Hasan Minhaj's 'Patriot Act' could succeed where other Netflix talk shows have failed

$
0
0

patriot act with hasan minhaj

  • "Patriot Act with Hasan Minhaj" is Netflix's latest foray into talk-show territory, and a social-media analysis from Crimson Hexagon suggests it has a shot at success.
  • Netflix's other talk shows, such as "The Break with Michelle Wolf," have been canceled.
  • But Crimson Hexagon found that people talked more about and had a more positive reaction to "Patriot Act" when it premiered compared to the other shows.
  • "Patriot Act" is similar to HBO's "Last Week Tonight" in that Minhaj focuses on a single issue each episode, and critics have praised the host's humor and unique perspective.

 

Hasan Minhaj's new Netflix show, "Patriot Act," might be the cure to the streaming service's talk-show woes.

"Patriot Act" debuted on Netflix with two episodes on October 28, and will be dropped on a weekly basis. A social-media analysis from consumer-insights company Crimson Hexagon, provided to Business Insider, suggests that audiences are already more interested in "Patriot Act" than they were with Netflix's other talk programs when they premiered.

Topical shows have proven to be a challenge for Netflix, as they break its usual strategy of dropping all episodes at once for users to binge at their leisure. The streamer's last few attempts — "Chelsea" with Chelsea Handler, "The Break with Michelle Wolf," and "The Joel McHale Show" — have all been canceled. "Patriot Act" hopes to break the cycle.

Crimson Hexagon measured online conversations and sentiment on the premiere dates for those four shows, and found that "Patriot Act" was talked about more and better received than the other three (we excluded David Letterman's Netflix show, "My Next Guest Needs No Introduction," as it isn't released on as frequent a basis).

While "Chelsea" wasn't far behind, more people posted about "Patriot Act" when it debuted. The number of posts were over double and triple for "Patriot Act" than they were for "The Joel McHale Show" and "The Break," respectively.

netflix talk shows patriot act

"Patriot Act" also led in sentiment, with only 8% of social-media reaction being negative. Compare that to Handler's show, for which 25% of the reactions were negative.

Reviews have been positive, as well. Vulture said that Minhaj has the humor and perspective to talk about sensitive issues that other hosts would not have. 

"That’s why Minhaj’s voice is necessary in this realm of television," Jen Chaney wrote.

Variety's Caroline Framke wrote, "Probably the sharpest tool in 'Patriot Act’s' arsenal is its host’s sharp, singular perspective. Minhaj is the first Indian-American to host this kind of show, and 'Patriot Act' (led by Minhaj’s  co-creator/head writer Prashanth Venkataramanujam) makes it count."

talks shows netflix patriot act

Minhaj seems to be what sets "Patriot Act" apart, but what else makes it different? Minhaj, a former "Daily Show" correspondent, told The Hollywood Reporter that it feels like a "visual podcast meets one-man show" and that he'll mention President Trump "very little," instead focusing on a single issue each episode, similar to HBO's "Last Week Tonight with John Oliver." 

 The show has even recruited New York Times, Vice, and ProPublica reporters as writers, according to THR.

"I want to do deep investigative reporting," Minhaj said. "And then some stuff that just makes me angry that I'll talk about for four minutes that's just funny for funny's sake."

SEE ALSO: 'Bodyguard' is the latest hit British TV show that Netflix has streamed to American audiences, and it has a 100% on Rotten Tomatoes

Join the conversation about this story »

NOW WATCH: How 'The Price Is Right' is made

Viewing all 103365 articles
Browse latest View live




Latest Images