In light of the recent domestic violence scandal surrounding NFL player Ray Rice, TV host Meredith Vieira has opened up about why she had such a hard time leaving an abusive relationship.

Vieira, former host of "The View" and the "Today" show, told her story on her daytime talk show, "The Meredith Vieira Show."

She said she was in a physically abusive relationship when she was younger, and despite having a job and the means to leave her partner, she stayed with him out of fear.

"Now, this is going on, and I'm a smart woman, and a lot of people say, 'Well, who would stay in that situation? Somebody who maybe has the wherewithal to get out, the means to get out,'" she said. "I had that. I had a job at the time. And I kept in this relationship and I've done a lot of thinking about why and I think part of it was fear. I was scared of him."

Her partner would also manipulate her to make her feel guilty for their fights.

"Every time we would have a fight he would then start crying and say, 'I promise I won't do it again' and I would feel like maybe I contributed, somehow, to this," Vieira said. "And they are saying this about Ray Rice's wife, that it takes two to tango."

The violence escalated throughout the relationship, Vieira said.

"It started out with we would have a fight and he'd just sort of grab my arm," she said. "And I didn't think a lot about it, and then it turned into pushing me against the wall. And then it went beyond that to actually taking his hand and grabbing my face and saying 'I could ruin your career if I wanted to and no one would want you."

In one incident, Vieira says her former partner threw her naked into a shower with scalding water and then threw her out of their apartment. She had to hide in a stairwell for hours before he came back for her.

"I continued to stay in that relationship until I was offered a job in another state and that's where I felt I had the ability to get away," she said.

Watch the full video below:

After video emerged last week of Rice punching his fiancee unconscious in an elevator, thousands of domestic violence victims across the country starting sharing their personal stories of abuse using the #WhyIStayed and #WhyILeft hashtags on Twitter in an effort to combat victim blaming.

SEE ALSO: Domestic Violence Survivors Use Hashtags To Explain Why It's So Hard To End An Abusive Relationship

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There's a long history of Disney animated movies in which young protagonists grow up without a mother and sometimes without any parents.

Consider these classics in which a character has either lost a mother or there is no mention of her at all:

"Snow White"
"Bambi"
"Cinderella"
"Peter Pan"
"The Jungle Book"
"The Fox and the Hound"
"The Great Mouse Detective"
"The Little Mermaid"
"Beauty and the Beast"
"Aladdin"
"Pocahontas"
"The Hunchback of Notre Dame"
"The Emperor's New Groove"

Why is that?

In a recent interview with Glamour, "Maleficent" executive producer Don Hahn, who also worked on Disney classics including "The Lion King" and "The Nightmare Before Christmas," gave two explanations.

"One reason is practical because the movies are 80 or 90 minutes long, and Disney films are about growing up," Hahn said. "They're about that day in your life when you have to accept responsibility. Simba ran away from home but had to come back. In shorthand, it's much quicker to have characters grow up when you bump off their parents. Bambi's mother gets killed, so he has to grow up." 

The other reason Hahn gave is a lot darker. 

According to the Walt Disney biography "How to Be Like Walt: Capturing the Disney Magic Every Day of Your Life," Walt and his brother Roy both purchased a home for their parents in Los Angeles in 1937. After about a year, Walt's mother called up one morning in November asking if the gas furnace leaking in the house could be fixed.

'He had the studio guys come over and fix the furnace, but when his mom and dad moved in, the furnace leaked and his mother died,' said Hahn. 'The housekeeper came in the next morning and pulled his mother and father out on the front lawn. His father was sick and went to the hospital, but his mother died. He never would talk about it, nobody ever does. He never spoke about that time because he personally felt responsible because he had become so successful that he said, 'Let me buy you a house.' It's every kid's dream to buy their parents a house and just through a strange freak of nature — though no fault of his own — the studio workers didn't know what they were doing.'

Walt's mother, Flora, died on Nov. 26, 1938, after the success of "Snow White and the Seven Dwarves" and during the production of "Pinocchio," which was a theatrical failure.

Hahn suggested that Disney was haunted by his mother's loss.

"The idea that he really contributed to his mom's death was really tragic. If you dig, you can read about it," he added. "It's not a secret within their family, but it's just a tragedy that is so difficult to even talk about. It helps to understand the man a little bit more."

SEE ALSO: Why the "Guardians of the Galaxy" director gave out Play-Doh to cast members on set

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Just like Harrison Ford, Mark Hamill, and Carrie Fisher, actor Anthony Daniels is an incredibly important part of the Star Wars legacy. He's just slightly handicapped by the fact that you can't see his face under the C-3PO helmet. He and Kenny Baker, the man inside R2-D2, are the only actors to be part of every single film, so when Star Wars: Episode VII started to move into active development, it made perfect sense that they would return. The big question that was raised, however, was whether Daniels would once again be inside his C-3PO costume, as he always has been in the movies, or would instead be opting to use motion capture or simply provide his voice. According to the actor, it was never actually a choice. 

In a recent interview with Entertainment Weekly, Anthony Daniels opened up about the process that led to him being cast in Star Wars: Episode VII - and in doing so revealed the two qualifications regarding the presentation of C-3PO that he demanded of the project in exchange for his performance. Daniels told the story of a conversation he had with director J.J. Abrams in the early stages in which the subject of the actor's performance came up. The filmmaker asked him if he had any interest in doing C-3PO as just a voice, and he refused. Said Daniels, "There’s no way I would just do the voice." 

But while Daniels was committing to once again wear the C-3PO costume, the other big request that he had was in regard to the design itself: he wanted it to change. While it sounds like none of the alterations have been made to the character aesthetically - meaning he will look just like the classic version - instead they were made to the interior of the suit and how it fit on the actor. He added, 

"I will tell you that the team then got together and built a new suit. They made an entirely new look-a-like with changes that you will never notice [on screen] that made my life a lot easier. I can get it on and off very quickly."

Star Wars: Episode VII will feature all of the legacy actors mentioned above - plus Peter Mayhew as Chewbacca - in addition to newcomers John Boyega, Daisy Ridley, Adam Driver, Oscar Isaac, Andy Serkis, Domhnall Gleeson, Lupita Nyong'o, Crystal Clarke, Pip Anderson, Christina Chong, Gwendoline Christie and Max von Sydow. The movie is still in production, and it will probably still be a long time before we get to see any footage from the film (it's still 15 months fron release), at least we keep getting cool tidbits like this that keep are excitement at the highest level. 

SEE ALSO: J.J. Abrams Shows Off First Footage Of X-Wing In 'Star Wars: Episode VII'

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One of the best aspects of Netflix's adult animated comedy "Bojack Horseman" is the sheer amount of talent involved: In addition to stars like Will Arnett, Aaron Paul, and Alison Brie in the leading roles, the show also features a number of hilariously unexpected co-stars like Stanley Tucci, JK Simmons, Olivia Wilde, Keith Olbermann, and Naomi Watts.

Case in point is the random and hilariously drole appearance of "This American Life" host Ira Glass in a ringtone: "Your telephone is ringing. I'm Ira Glass. Thank you for being a sustaining member of public radio. Everyone has a story, and your phone's story is that it's ringing."

Business Insider reached out to Glass for comment on how he got involved with the program, and this is what he had to say: 

"They called me and I was honored to be included. I've been stunned by how many people want an Ira Glass ringtone. Obviously this is a business opportunity for me. If I play this right, my hope is to eliminate the public radio pledge drive with our sales." 

SEE ALSO: Netflix Knows What We Really Want, And It's An Alcoholic Talking Horse

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The New York Film Festival is fast approaching, and there's plenty to be excited about.

The festival boasts high-profile world premieres, much-anticipated US debuts as well as a slew of lesser-known works from the world's best filmmakers.

The festival runs September 26th through October 12th and tickets are currently on sale.

For New York City-dwellers looking to attend the festival, here are the films worth your time.

1. "Gone Girl"

Official release date: Oct. 4

Who's in it: Ben Affleck, Neil Patrick Harris, Rosamund Pike, Missi Pyle, Patrick Fugit

Why to see it: Everybody's talking about the new David Fincher flick, and for good reason. The film's world premiere takes place on the festival's opening night and is already the subject of much Oscar buzz. The thriller, based on the New York Times bestseller by Gillian Flynn, centers around a man (Ben Affleck) and the mystery surrounding the disappearance of his wife on their fifth wedding anniversary. Fincher opened the New York Film Festival in 2010 with "The Social Network" and went on to win three Oscars.

Watch the trailer.

2. "Inherent Vice" 

Official release date: Jan. 9, 2015

Who's in it: Joaquin Phoenix, Reese Witherspoon, Josh Brolin, Jena Malone, Benicio Del Toro, Owen Wilson, Michael K. Williams, Eric Roberts

Why to see it: A new work from auteur Paul Thomas Anderson is a rare event and certainly something to celebrate. PTA's follow-up to 2012's "The Master" comes sooner than expected, as "The Master" was released five long years after "There Will Be Blood," which itself came five years after "Punch Drunk Love."  This adaptation of Thomas Pynchon's novel of the same name follows a drug-fueled detective through 1970s Los Angeles as he investigates the disappearance of a former girlfriend. "Inherent Vice" marks the first time Anderson has adapted someone else's work. 

3. "Whiplash"

Official release date: Oct. 10

Who's in it: Miles Teller, JK Simmons

Why to see it: The film follows a young musician (Miles Teller) as he trains under his teacher (J.K. Simmons) to do whatever it takes to become a top jazz drummer. Everybody that has seen "Whiplash" loves it, and early reviews from Sundance indicate that Simmons steals the show in what is being hailed as the "role of his career."  Miles Teller, who blew audiences away in "The Spectacular Now," has received equal praise for his work in the film. 

Watch the trailer.

4. "Birdman" 

Official release date: Oct. 17

Who's in it: Michael Keaton, Naomi Watts, Edward Norton, Emma Stone, and Zach Galifianakis

Why to see it:  Alejandro González Iñárritu ("Babel," "21 Grams") long-awaited returns to the director's chair stars Michael Keaton as a once-relevant actor known for playing a superhero who must overcome his personal troubles as he prepares to stage a Broadway play to reclaim his glory. Praise surrounding the film exploded after its debut at Telluride in late August, with many pointing out that the film brilliantly pays homage to (and skewers) filmmaking itself. 

Watch the trailer.

5. "Foxcatcher"

Official release date: Nov. 14

Who's in it: Steve Carell, Channing Tatum, Mark Ruffalo, Sienna Miller, Vanessa Redgrave

Why to see it: Bennett Miller ("Moneyball," "Capote") is no stranger to Oscar buzz as every single one of his films has been nominated for multiple Oscars.  "Foxcatcher" is poised to continue this impressive streak as it finally reaches theaters this fall after debuting at Cannes to much acclaim. Based on the true life story of Mark Schultz (Channing Tatum), the movie follows the athlete as he teams up with the eccentric millionaire John du Pont (Steve Carell) to train for the 1988 Seoul Olympics.

Watch the trailer.

6. "Maps To The Stars"

Official release date: TBA

Who's in it: Julianne Moore, Robert Pattinson, John Cusack, Mia Wasikowsa, Carrie Fisher

Why to see it: While David Cronenberg's later films have veered significantly from his earlier (and completely brilliant) horror films, his uniquely artistic approach ensures that no matter how traditional the plot may seem, things are going to get real weird. His latest film is a satricial look at Hollywood and the idea of celebrity and promsies to be a surreal, bizarre, and definitively Cronenbergian take on the concept.

Watch the trailer.

7. "Listen Up, Phillip"

Official release date: Oct. 17

Who's in it: Jason Schwartzman, Elizabeth Moss, Krysten Ritter

Why to see it: "Bored to Death" fans yearning for more of Jason Schwartzman in leading roles should find plenty to enjoy here. Schwartzman stars as Phillip, a young writer who escapes a dwindling relationship and seeks refuge in the summer home of his literary idol where he finally finds time to work on himself. The dark comedy premiered at Sundance earlier this year and has received tons of rave reviews. 

Watch the trailer.

8. "Pasolini"

Official release date: TBA

Who's in it: Willem Dafoe

Why to see it: Legendary New York filmmaking icon Abel Ferrara's second feature of the year ("Welcome To New York" is yet to be released in the US) is not a typical biopic. Willem Dafoe stars as the titular Pier Paolo Pasolini, and rather than showcase the notorious filmmaker's entire backstory, Ferrara chooses to focus only on the last day of his life. The film provides a rare glimpse of an interesting figure in such a way and at such an angle that only Abel Ferrara could pull off. 

Watch the trailer.

9. "Time Out Of Mind"

Official release date: TBA

Who's in it: Richard Gere, Jena Malone

Why to see it: Oren Moverman's third feature ("The Messenger," "Rampart") stars Richard Gere as a homeless man trying to reconnect with his estranged daughter. While that may sound manipulatively sappy on the surface, Moverman has proven that he can handle heavily emotional material, as "The Messenger" had a similarly depressing sounding premise and wound up being incredibly moving. Gere is certainly ripe for an award-worthy performance, and "Time Out Of Mind" seems to be the perfect vehicle for one. 

SEE ALSO: 17 Highly Anticipated Movies To See This Fall

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Cartoonist and feminist theorist Alison Bechdel won a 2014 MacArthur grant, which will give her $625,000 over five years to spend however she wants.

The MacArthur Foundation highlights her works including "Dykes To Watch Out For" but fails to mention the popular tool she created in 1985 to identify movies that take women seriously. 

To pass the Bechdel test, a movie must meet the following criteria:

1. It has to have at least two [named] women in it,
2. who talk to each other,
3. about something besides a man.

Pretty simple, right? But a shocking number of movies don't pass the test.

Blogger Daniel Mariani analyzed data from the crowd-sourced Bechdel Test Movie List to create a series of charts on the subject. With his permission, we're publishing a chart on Bechdel pass rates by genre.

While around 58% of movies pass the test, with even higher pass rates for genres like horror (!), drama, and comedy, only some 37% of action movies pass, with similar failure rates for other major genres.

Go to Mariani's site to see charts by director, writer, country, and more >

And here's a video on Alison Bechdel from the MacArthur Foundation:

As for "The Avengers," pictured above, a commenter on BechdelTest.com notes that: "There are more than two named female characters; however there is no interaction between any of them. Agent Maria Hill does give orders to her staff (some of whom are female), but there is certainly no conversation/dialogue."

SEE ALSO: Hollywood is finally realizing the importance of female audiences

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The MLB postseason is approaching, and many teams are looking to clinch a playoff berth. As teams get ready for baseball's most exciting time, Bryan Cranston is preparing for the postseason in his own way.

Cranston dramatized the MLB postseason in a "one-man performance" for TBS. Inspired by his passion for baseball and Bugs Bunny, Cranston documents his solo recreation of the MLB Playoffs.

Cranston details the trials and tribulations of putting on a one-man baseball game: rearranging the organ soundtrack for the theater, noisey concessionaires, and challenging ballet moves for more realistic game action.

He also does his best to get the crowd involved, letting them experience what it's like to have Cranston on the mound.

He didn't stop there, however, as he enlisted Pedro Martinez to help him get the basics down. For instance, that form has to be right when hoisting the World Series trophy.

And, of course, he nailed the finer details, like baseball's favorite postgame interview prank.

Watch the full video below:

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If there's one new show you can take off your watch list, it's NBC's new series "The Mysteries of Laura."

The first reviews for Debra Messing's ("Will & Grace") return to TV are back, and critics say it's among the worst new shows the fall is offering.

"The Mysteries of Laura," premiering Wed., Sept. 24 at 9 p.m., follows Messing as she tries to juggle life as both a homicide detective and a mother of two twin boys.

NBC suggests the show is a hilariously authentic look at what it really means to be a 'working mom' today."

Critics aren't in agreement.

Newsday's Verne Gay gives the pilot a C+ saying the show has no idea what it wants to be.

"This jarring, discordant opener (comedy? cop procedural? mystery thriller? who knows?) features a grating Columbo wannabe with an obnoxious ex, and a deplorable brood, yet insists that we find the inherent charm in each of them. This series, which blends and bends genres, tries to balance sketchy character development with a sketchy tone, then ends with a payoff that's rushed and implausible."

Vulture's Margaret Lyons comes out and says it in her headline: "'Mysteries of Laura' is a Bad Show. It's a Bad, Bad Show."

"Laura's main character trait is that she's frazzled, and that's not really enough to hang a show on; wearing Spanx and having a messy car does not a full character make. She keeps momming things up at work, accidentally leaving juice boxes around the precinct and all! Classic mom. Aren't moms always just momming everything with their momness? I'm like, Mom!"

The Hollywood Reporter's Tim Goodman is particularly brutal.

"In this case, nobody had the guts to say, 'This is a terrible script. It should be completely rewritten by someone who can write.' Nor did they say, later, 'We just pissed away millions of dollars on this crappy pilot. Can we just agree that we've made a horrible mistake, not pick this up and pretend it never happened?' Instead, everybody must have ignored the striking warning signs and said nothing when given the chance. Who knows anymore. Maybe a pig stood on a buzzer at some audience testing facility, and here we are."

Time's James Poniewozik puts it pretty bluntly.

"You can be a terrible cop show and a terrible parenting show. You can be a ridiculous drama and an unfunny comedy. You can try to glom on to the legitimate problems of working mothers yet insult them, and your audience in general, in the process. NBC only sent the pilot episode of Mysteries for review, and that’s usually not enough basis to write off a show completely–if the problems are on the level of writing, plot and execution. So to be generous, the pilot of Mysteries is bad in ordinary ways that might eventually be fixed by better scripts."

Hitfix's Alan Sepinwall can't figure out why this show made it to air unless NBC is doing Messing a favor.

"The Mysteries of Laura" is trying to be big and comic and goofy even as it's trying to sell its heroine as both a badass cop (the opening scene involves her shooting to wound a hostage-taker after he taunts her by saying, "Bite me, b----!") and a caring mom. Nothing flows together, the main character is abrasive, the suspects are all caricatures, the frequent plugs for a certain big box store are clumsy even by the standards of modern product integration and nothing in it works.

A bigger mystery than 'How can a woman be a cop and a mom?' is why in the world NBC picked up this show."

Variety's Brian Lowry doesn't see a reason for viewers to stick around:

"While it’s really no mystery why the network chose to gamble on 'Laura,' the riddle that goes unsolved is why anybody who watches the first hour should be inspired to return for another."

The New York Times' Neil Genzlinger is a bit more forgiving:

"The premiere doesn’t always get the balance right — the crime of the week is bland, and a lot of the “cute” comes off as trying too hard — but a few savvy scenes suggest there’s potential for improvement."

"The ingredients here need time to jell, and the writing needs to move beyond generic glop and take advantage of Ms. Messing’s full range of talents."

SEE ALSO: The highest-paid actors on TV this fall

AND: The 24 new shows coming to TV

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The actual first-week sales figures for "Destiny" are out and Activision's latest video game from the makers of "Halo" isn't breaking any records.

Activision announced the game has sold more than $325 million worldwide in its first five days.

The company says this is according to "Chart-Track, first parties, retail customer sell-through information" and estimates from Activision Blizzard. 

After the title's release, multiple outlets reported the game's first day sale figures at more than $500 million after the company announced a "sell-in" figure north of $500 million in 24 hours. The "sell-in" figure is a number which reflects the total value of the games Activision put into retail rather as opposed to a "sell-through" figure. 

Activision is calling "Destiny" the best-selling new video game franchise launch ever. The company has signed a 10-year deal for the game.

Last year, Rockstar's "Grand Theft Auto V" made a huge $1 billion in three days. Granted, that game was a sequel in a successful franchise. Bungie's "Halo 2" made a reported $125 million in first day sales.

"Destiny" has been reported to be one of the most expensive video games ever made. Early estimates suggested it cost up to $500 million to make and market the game.

While not perfect, the futuristic shooter mixed with a massive multiplayer online universe is thoroughly fun, encouraging gamers to upgrade their characters for further gameplay after finishing the game's story mode. 

We've reached out to Activision for an actual breakdown of first day sales. 

SEE ALSO: Why "Destiny" didn't actually make $500 million in first day sales

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Disney's upcoming movie release schedule should have rival studios worrying. 

Variety senior editor Marc Graser tweeted out this photo showing Walt Disney Studios' film plans for the next two years and, as he notes, it is quite impressive.

The main reason Disney's film schedule is so strong is not only due to films being made in house, but also the company's dependence on movies from acquisitions over the last decade.

As a reminder, Disney purchased Pixar in 2006 for roughly $7.4 billion, Marvel in 2009 for $4 billion, and Lucasfilm in 2012 for $4 billion.

Here's a breakdown of those future releases.

Future Pixar movies

"Inside Out" (Release: 6/9/2015)
"The Good Dinosaur" (Release: 11/25/2015)
"Finding Dory" (Release: 6/17/2016)

Pixar's track record is incredible and "Finding Dory" will be the follow-up to 2005 hit "Finding Nemo" which is reportedly the top-selling DVD ever.

Future Marvel Studios' films

"Avengers: Age of Ultron" (release: 5/1/2015)
"Ant-Man" (release: 7/17/2015)
"Captain America 3" (release: 5/6/2016)
Untitled Marvel project rumored to be Doctor Strange (release: 7/8/2016)

Disney's Marvel Cinematic Universe is currently the envy of every other studio as they scramble to replicate Marvel's success on screen with other superhero franchises (Sony has rebooted its Spider-Man franchise while Warner Bros. is bringing new Batman and Superman films to screen. Fox has the X-Men and Fantastic Four.)

"The Avengers" holds the record for the highest-grossing opening weekend at theaters making $207 million upon release in 2012. The sequel will look to break that record early next summer.

Future Lucasfilm projects

"Star Wars: Episode VII" (release: 12/18/2015)

Disney has plans for multiple "Star Wars" films. In addition to "Star Wars" episodes VII, VIII, and IX, CEO Bob Iger has already said there will be at least three spin-off films.

Other films

Following the success of Disney's "Maleficent" earlier this year, the studio has also announced several live-action films. "Cinderella" and "Jungle Book" will come out next year.

There is also a sequel to "Alice in Wonderland" set for release in May 2016. The first film, released in 2010, starring Mia Wasikowska and Johnny Depp made more than $1 billion worldwide in theaters.

A steady cash flow from Marvel and Pixar movies would allow the studio to take some risks with other projects including Marvel's first animated picture "Big Hero 6" in theaters this fall and long-awaited film "Tomorrowland."

SEE ALSO: 2 reasons why Disney movies often don't have moms

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Fox has one break-out hit this fall, but it's not Batman prequel "Gotham."

It's a show about a group of teens living in a swanky hospital called "Red Band Society" ("RBS") from executive producer Steven Spielberg and starring Oscar winner Octavia Spencer ("The Help").

Over the weekend, we watched the season premiere episodes of Fox's new fall lineup and the dramedy had the audience at our screening laughing, and, I'd be surprised if it didn't leave everyone crying (or at least tearing up) near its end.

A series about sick children is a tough sell. Audiences could be deterred from what may sound like sensitive subject matter.

But from the moment Spencer enters on screen walking to her job at Los Angeles’ Ocean Park Hospital with a coffee cup labeled with the name "Scary Bitch," you know you're in for a ride.

Spencer plays Nurse Jackson who keeps the kids and her co-workers in line and doesn't take bull from anyone. Someone wants her to hold an elevator because they're running late? Take the stairs. A co-worker tries to hand her some friendship muffins as a bribe to leave work early? Not happening. Muffins, meet the trash. However, underneath her hard exterior, you see glimpses of a maternal mama hen. 

The actress is not in the pilot episode much, but every time she's on screen she's a scene stealer you want to see more.

It's not just her performance that's great. What happens in the first few minutes of the show solidifies that it's a game changer.

[Minor spoilers ahead]

The show opens with narration from a young boy as he introduces each character one by one from a young girl with an eating disorder and an unpopular cheerleader with an enlarged heart to a boy with one leg who has been fighting cancer.

It's a typical story layout until several minutes into the pilot you learn the boy narrating is actually in a coma! When you first hear that you may be quick to do an eyeroll, but it's not done cheesily and it's not done for shock value — something that has probably been in Fox's vocabulary since the network began in 1986 ("Married with Children," "Family Guy").

This is one of those sensitive items that could go over well or poorly, but the dramedy does it right, suggesting the character can hear everything going on in the show. Again, if you're ready to do an eyeroll, suspend all disbelief for a moment.

[End of spoilers]

Never do you feel like any of these characters' illnesses is exploited for TV ratings. Instead, the main focus of the show is these kids and the bond they form — a "red band society" dictated by the red hospital bands given out during their surgeries.

Aside from Charlie Rowe ("The Golden Compass"), Griffin Gluck ("Private Practice"), and Nickelodeon star Ciara Bravo, you may not recognize any of the young talent, but the chemistry between the actors is great. Leo (Rowe) and Dash (Brian Bradley) are a two man band of mischief while the more reserved Emma (Bravo) is a whose quick tongue can hold her own among the boys. Then there's fiery cheerleader Kara (Zoe Levin) who you can tell may be an instigator among the group.

The show itself balances jokes and light, silly moments with heavy ones like when two boys discuss what it's like to lose a leg to cancer.

"Red Band Society" also appears to borrow a few pages from ABC's hit medical drama "Grey's Anatomy" which is going into its 11th season this fall. Spencer's Jackson character reminds us of feisty general surgeon Miranda Bailey. There's also a doctor named McAndrew. We're still debating whether or not this is a direct nod (jab?) at McSteamy and McDreamy — nicknames for two "Grey's Anatomy" doctors. 

From the premiere episode, you can already imagine where the show will go for the rest of the season and beyond. You're introduced to potential love interests, personal issues that may complicate friendships, and drugs and alcohol come into play.

Of course, there's also each character's health to consider.

The only complaint so far is that the hospital setting doesn't appear realistic at all as the kids seem to have no real supervision. Nurse Jackson just shows up when needed. The kids are able to wander around through the halls, smoke weed (and get caught with no real repercussions), find time to make graffiti in between classes taught in the hospital, and even manage to escape the confines of their swanky solitary (Where's the security in this place?) to take a joyride to a liquor store and persuade a man to sell alcohol to minors (You can't say no to a teen with one leg).

We also wondered where the majority of the children's parents were in the opening episode. These kids all live in this hospital that feels more like a hotel than a medical facility with life-threatening illnesses and their parents are no where to be found.

Unlike other shows we watched so far, it wasn't nagging aboutone person's imperfections or trying to be the next "True Detective" miniseries. Nor was it aiming for cheap laughs with a laugh soundtrack.

"Red Band Society" came across as a real, personal genuine drama that can be enjoyed together by a family.

Fox was in need of a hit to take over after "Glee" ends its six-season run next year. It has definitely found it.

The series premieres on Fox September 17 at 9 p.m. Watch a trailer for the show below.

SEE ALSO: The 24 new shows coming to TV this fall

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Last month, America's newest cable news network turned one year old. 

Al Jazeera America has been broadcasting exclusive American content from 12 bureaus across the country since Aug. 20, 2013, but until recently relatively few Americans noticed. 

However, the viewership has begun growing as Al Jazeera reports hard news about Gaza, ISIS, and the racial unrest in Ferguson, Missouri. Spikes in viewership are encouraging those at the network who were losing hope in America's appetite for serious journalism.

From talks with the network and the industry, Business Insider understands the company is now growing out of its startup phase. The company has implemented cost-cutting measures and is increasing its focus on marketing and promotion, with an ambitious aim for commercial viability in the longer term.

Troubled Beginnings

Watching Al Jazeera America reveals compelling stories from around the country, expert on-the-ground coverage of international affairs, and a commitment to comprehensive, long-form investigative journalism which might otherwise be lost to American audiences.

But while the content is first-class, the ratings have been anything but. 

Last year, the conservative magazine "National Review" took delight in ridiculing the network's audience share — pointing out that its entire primetime audience could sit comfortably in the Madison Square Garden hockey arena.

Network CEO Ehab Al Shihabi addressed the attacks head-on in a memo to staff earlier this month: "Other cable news networks have been on television for decades — we’re a year old."

"We’re still growing our brand awareness as well as our distribution, which is a little more than half of all U.S. cable homes," he wrote.

But with Al Jazeera America drawing on its comprehensive global reporting resources and a reputation for sticking to hard news, it seems its ratings may have turned a corner during the Israel/Gaza war and coverage in Ferguson, Missouri, where a black, unarmed 18-year-old was killed by a white police officer.

Nielsen ratings provided to us by the network show that primetime audiences grew about 35% over the period, coming off a year of back-to-back growth culminating in doubling in overall audience since launch. Over those past five weeks, approximately 20 million unique viewers tuned in to the channel, which now reaches 60 million homes. 

Still, hovering around 25,000, Al Jazeera's prime-time viewership averages less than 5% of CNN's 600,000.

Commercial Viability 

Executive Vice President of Corporate Communications, Dawn Bridges, told Business Insider the company had every intention of becoming commercially viable, pointing out that it’s taken other cable networks years to become profitable.  

The network sees itself as filling a hole in a cable news market increasingly dominated by partisan opinion shows, soft lifestyle stories, and seemingly endless speculation about a missing plane.  

“We saw a need in the U.S. for unbiased, fact-based, in-depth coverage of domestic and international news, without the punditry, opinion and ‘infotainment,’” Al Shihabi's memo said. 

When Business Insider asked if Al Jazeera America still believed there was an appetite for real, hard news in this country — the response we received was a determined "Yes."

“We tell human stories better than anyone else. We're the only news network with weekly investigative show, a nightly hour-long magazine show, with the ability to cover the news globally with people in 80-plus locations,” Bridges told us.

Al Jazeera told us it plans to capitalize on recent gains with additional brand and program marketing campaigns. The network has already started taking out spots on rival stations CNN and MSNBC.

The company is also cutting costs, having shed between 60 and 100 staff earlier this year, and recently cut back on original daytime programming.

However, despite its well-educated audience, some advertisers believe the network has little to offer them. Few major brands advertise on the station.

A report on Ad Age shows those within the industry believe Al Jazeera America has been slow to develop its branding and has been timid in its approach to industry and advertiser outreach.

But while the company works to expand its ratings at a slow but steady pace — and develops its online streaming mechanisms — Al Jazeera's relatively small core viewership is treated to a luxury of riches. 

After just one year the network's flagship half-hour investigative show, "Fault Lines"— examining issues from football to Ferguson to fracking — has won two Peabody Awards and a host of other commendations.

The network lured Academy Award winning director Alex Gibney to work on their latest documentary series, "Edge of Eighteen." The series, currently airing, unflinchingly documents the lives of several American teens as they grapple with religious evangelism, parental homophobia, teenage pregnancy, drug use, radial tensions, and urban poverty. 

Earlier this year, the network successfully mixed investigative journalism with reality television, producing the highly compelling "Borderland," in which six Americans with various views on immigration were pushed to retrace the steps six migrants who'd been killed trying to reach America.

Whether the network can ever translate its quality into profit, however, remains to be seen.

SEE ALSO: Missouri Police Fire Tear Gas At Al Jazeera Crew And Take Their Equipment

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Joan Rivers' daughter, Melissa Rivers, released her first statement since her mother's death on Sept. 4.

Thanking fans for the outpouring of support and saying "my mother would have been overwhelmed," the 46-year-old continued via her WhoSay account:

"As my son Cooper and I mourn the loss of my mother, we want to thank everyone for the beautiful cards and flowers conveying heartfelt messages and condolences, which continue to arrive from around the world and through social media. My mother would have been overwhelmed by the scope and depth of the love that people have expressed for her. It is certainly helping to lift our spirits during this time.

We are forever grateful for your kindness and support in continuing to honor my mother’s legacy, and for remembering the joy and laughter that she brought to so many.”

Melissa will make her first TV appearance since her mother's death for E!'s "Joan Day," featuring a 12-hour marathon of “Fashion Police” in honor of the late star. The day will conclude with a 90-minute tribute special featuring Melissa and the co-hosts.Rivers died at age of 81 after complications from throat surgery. Questionable conduct during the procedure has since come to light, and the circumstances surrounding her death are currently under investigation.

SEE ALSO: Read The Humorous Eulogy Melissa Rivers Gave At Joan Rivers' Funeral

MORE: Tons Of Celebrities Showed Up For Joan Rivers' NYC Funeral

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Google I/O, the annual Google developers conference usually provides some pretty sweet swag for its attendees, such as the newest laptops and tablets. For the 2014 Google I/O conference, it was a piece of cardboard. Presented at the end of the conference, "Google Cardboard" was a way for Google to prove how simple virtual reality can be. We were intrigued, so we built one ourselves. 

Produced by Justin Gmoser. Additional camera by Alex Kuzoian. Narration by Will Wei. 

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Dr. Gwen Korovin is widely being reported as the doctor who was performing an unauthorized throat procedure on Joan Rivers when she stopped breathing and died earlier this month.

The ear, nose, and throat doctor also reportedly took a selfie while Rivers was under anesthesia — a major violation of privacy.

But Korovin wasn't new to treating high profile stars. The 56-year-old counts Lady Gaga, Hugh Jackman, Ariana Grande, John Mayer, and Brooke Shields among her many celebrity clients.  

Her Facebook page — which has since been cleared of all pictures and information — once showcased many photos of the doctor working and socializing with her A-list clients.

Now, Dr. Korovin's Facebook page is under attack by angry Joan Rivers fans:

But others, many in the medical community, are coming to Korovin's defense:

On September 4th, Joan Rivers died at the age of 81 after Korovin allegedly performed an unplanned biopsy without the comedian's permission.

After Dr. Lawrence Cohen, Rivers’ gastroenterologist, discovered something on her vocal cords, Korovin, who wasn’t authorized to perform any medical procedures at the Yorkville Endoscopy clinic, took over and began a biopsy. It was then that Rivers' vocal cords began to swell, cutting off her oxygen and leading to her death.

Dr. Cohen, who was also the clinic’s medical director, has since parted ways with Yorkville.

The clinic confirmed his departure, stating, Dr. Cohen “is not currently performing procedures…nor is he currently serving as medical director.”

Korovin's office said in a statement: “We do not comment on matters related to patients.”

The Daily Mail snapped pics of Korovin arriving at her West Village home this weekend.

Korovin also appeared in Celine Dion's 2010 documentary "Through the Eyes of the World," in which she inspected the singer's strained vocal chords and joked around with her during a laryngoscopy procedure:

On Sept. 5, the New York Medical Examiner's Office told TheWrap that the autopsy on Rivers’ body "did not determine the cause or manner of death, and that further studies would be conducted to determine exactly how she died."

SEE ALSO: REPORT: Doctor Snapped A 'Selfie' While Joan Rivers Was Under Anesthesia

MORE: Melissa Rivers Speaks Out For First Time Since Joan Rivers' Death

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There's one mystery on FX show "Louie" that has never really been addressed.

While Louie's ex-wife "Janet" is played by black, Jamaican actress Susan Kelechi Watson, his two daughters are very white, very blonde little girls.

Despite leaving viewers guessing about the backstory of the relationships, the race issue has never been fully explained on the show — and that's intentional.

"We play around with ethnicities. Janet is African American, but both of their kids are white and Louie’s white so how does that work? Look, it probably doesn’t make sense but Louie wanted to cast someone to play his on-screen ex-wife who was unlike his real ex-wife," casting director Gayle Keller tells Business Insider. "He didn’t want that much reality in this show."

But the race of the actress wasn't necessarily a premeditated decision, Louis just thought Watson was the best person for the part.

"We auditioned people who were African American and white, we auditioned both," explains Keller. "We didn’t limit ourselves to someone who was just Caucasian. Louis just felt that the woman who we cast [Watson] was best for the part and she happened to be African American and he didn’t care about that. He didn’t feel like he had to explain that in any way and have two Caucasian children and an African American wife."

Watson talked to Essence magazine in 2012 of her confusion during the audition process:

"I'd seen the show before I auditioned so I knew the kids on the show. And they were White. So when I go into the audition I say, 'I don't know what part I'm auditioning for but I know it can't be his wife because I've seen his kids.' They were like, 'Okay, we're just gonna press record.' After I got the role I was still thinking it can't be to play his ex-wife, maybe his friend, but not the ex-wife. I just thought it was hilarious, and that Louis [C.K.] was kind of brilliant for casting it that way."

In 2012, Louis C.K. told Jimmy Kimmel: “If the character works for the show, I don’t care about the race. When a black woman tells you to get a job, it’s just more … ” he added, trailing off with a laugh.

To make matters more confusing on the show, the "Janet" character was played by white actress Brooke Bloom in a season 4 flashback sequence.

Casting director Keller says she auditioned African American, Caucasian, and Asian actresses for the flashback role.

"Ethnicity is not what was important for that role," says Keller. "It was more about the fact that we wanted someone who just understood the character immediately. All of the actors who come in to audition go on tape and they only get the material when they get to the audition. Everything is a cold reading because Louis likes when actors are not that prepared and forced to go with their instincts." 

At the end of the latest season 4, Louie's very candid new girlfriend, played by Pamela Adlon, finally asks the question on everyone's minds, pointing out, "those kids can’t come from that woman."

Louie vaguely responds by saying that Janet is biracial, giving no real explanation for his very white children.

"I think Pamela’s character, who she is as a person, to get into a relationship with Louie and see the children and see the ex-wife, she has the tenacity as a character to ask that question," says Keller. "That’s just who she is and she’s not going to let that go by without commenting about it." 

While writer Dustin Rowles says Louis C.K. is "just f------ with us" when it comes to the interchangeable races of roles, Watson, who plays "Janet" on the show, told Essence:

"I think people have found it to be a lot like what Louis' been saying all along. If you follow the show you understand that there's no real continuity, and that Louis is a bit of a maverick in terms of not having any allegiance to doing something one way. People see it and go, 'What? This makes no sense.' And then they go, 'Oh, that's 'cause we're watching Louis.' And they take it with a grain of salt.

I think it's remarkable because for so long we've been saying we just want to see each other as human beings. Our culture is very important, of course, but this feels like a moment where someone has said, 'Your culture is irrelevant at this moment. It's more about whether you feel like you're right for this role and what you're bringing to it.

SEE ALSO: Here's How 'Louie' Lands Such Amazing Guest Stars

MORE: Here's How Much Ad-Libbing Is Done On 'Louie'

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Lionsgate has announced that it has acquired the rights to distribute a film based on two of YouTube’s biggest stars.

Comedy duo Anthony Padilla and Ian Hecox, better known to the YouTube community as SMOSH, will star in a feature-length movie aptly titled "The SMOSH Movie." 

One of the earliest YouTube channels started in 2005, Smosh has more than 30 million YouTube subscribers. The channel’s main audience is geared toward 13-17 year olds.

The Smosh brand is one of DEFY Media’s biggest YouTube properties. In the past decade, Padilla and Hecox have spun their YouTube channel into a successful site, Smosh.com, which receives an average of 12 million unique monthly visitors along with top-selling mobile and game apps.

The duo are known on YouTube for their popular parody videos consisting of “Pokémon in Real Life” and a “What If” series comprised of videos like “If Movies Were Real” and “If Apps Were Real.”

The two first gained popularity in 2005 after a lip-dub of the "Pokémon" theme song went viral only to later be pulled due to a copyright claim.

"The SMOSH Movie" script was written by Eric Falconer ("How I Met Your Mother") and will be directed by Alex Winter ("Bill & Ted's Excellent Adventure"). 

The film will be co-produced by digital content and distributor DEFY Media and AwesomenessTV.

With Winter working on the film, it's no surprise the movie will follow the duo in an adventure the likes of "Bill and Ted's Excellent Adventure."

Here’s the plot synopsis for the film: 

“The SMOSH Movie revolves around an embarrassing video of Anthony that resurfaces online right before his fifth high school reunion, leading the SMOSH duo into a headlong race to remove the clip before it ruins Anthony’s chances of reconnecting with high school crush Anna.  Anthony and Ian leap through a portal onto YouTube, and what follows is the adventure of a lifetime as SMOSH encounters one YouTube celebrity after another in their quest to alter a video and hopefully change their lives.”

There is no set release date yet for “The SMOSH Movie.”

SEE ALSO: This chart shows how Disney will dominate theaters for the next two years

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The People For the Ethical Treatment of animals do a lot of "shockvertising": using controversial images to burrow a message into your brain, by way of nearly naked people, bloody animal corpses, or an intensely dark sense of humor. 

The nonprofit revels in its audacity, putting together websites to promote ads that have been banned or rejected.

Though they turn plenty of heads, do some of their ads go over the line? PETA has been slammed for objectifying women, which may alienate potential new followers.

What do you think? Be warned — not all of these will be safe for work. 

Kim Bhasin contributed to an earlier version of this article.

This spot showed the link between purchase and poaching. 'Poaching is driven by demand. So the day you stop buying, they stop killing.' (Singapore, 2014).

This gruesome ad shows where fur comes from. 'Poaching is driven by demand. So the day you stop buying, they stop killing.' (Singapore, 2014).

It goes for menswear, too. 'Poaching is driven by demand. So the day you stop buying, they stop killing.' (Singapore, 2014).

Cartoonist Alison Bechdel was named a MacArthur Fellow on Wednesday and will receive a $625,000 no-strings-attached grant to advance her idiosyncratic art. 

Bechdel makes comics, but not in the cape and cowl variety — her work digs into small-town American childhood, parental relationships, and gender identity. 

Bechdel cut her teeth penning "Dykes to Watch Out For," a gender-studies-and-current-events comic strip that gained a cult following through its 1983 to 2008 run.

In 2006 she published her first book, "Fun Home: A Family Tragicomic." It's about her growing up in a small town in Pennsylvania and her increasingly complex relationship with her father, who she didn't know had sexual relationships with men until she came out to her parents.

The book is heartfelt, honest, and deals in the ambiguities of family life. Bechdel leaves the reader wondering if her father killed himself on the day he was hit by a truck and died — or if it was an accident.

Her second book arrived in 2012. Called "Are You My Mother? A Comic Drama," the graphic memoir uses a psychoanalytic lens to better understand her relationship with her mom. 

Bechdel's work is a union of image and text, expanding the form established by comic legends Will Eisner, Art Spiegelman, and Alan Moore.

"What I love about cartooning is the way you have access to these two different kinds of communication," she tells the MacArthur Foundation. 

"I love putting sentences together, but language remains symbolic, it still has to get filtered through our brains," she says. "Whereas drawing, it's right there, immediate, and you just assimilate it without having to think about it. I love having access to both kinds of communication when I tell my stories." 

Bechdel is one of 21 MacArthur fellows for 2014. Her peers include community organizers, mathematicians, and musicians. 

She says the grant validates her career.

"Getting this kind of recognition from the MacArthur Foundation, I can feel it already changing my life," she says. "I'm having to adjust to the fact that this has happened, therefore I must be doing something worthwhile. And to have that kind of confidence put into my work is a huge gift, and I'm going to work very, very hard to live up to those expectations."

Check out her full bio here, and watch the full MacArthur Foundation interview with her below. 

SEE ALSO: Meet The 21 MacArthur 'Geniuses' Who Each Got $625,000 To Change The World

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Nowadays, the definition of a famous celebrity has evolved a bit. You've still got your traditional movie stars and musicians, but then there's also the YouTube personalities and the Instagram celebs.

And according to James Franco, this trend is making easier and easier for aspiring actors to succeed.

On Wednesday night, Franco kicked off a new project he's been working on with AOL called "Making a Scene with James Franco." The original series, which hilariously recreates famous movie scenes, will be rolled out in three batches of short episodes.

During a Q&A session to help launch the first three episodes, one Twitter fan who hopes to become an actor asked Franco for some advice.

Franco began with the obvious answer of "Work hard," but he continued to explain how many of the obstacles actors faced just a decade ago are no longer relevant and that aspiring actors have it easier nowadays thanks to technology.

Pointing to his AOL show as an example, Franco explained that it didn't actually take that much money to pull off. All it really takes is concept and comedy.

"The technology nowadays and the distribution platforms are so much more available and open than they were even ten years ago and certainly in the last century, so I would say don’t sit around and wait for somebody to welcome you into the secret gates of Hollywood, just start making your own stuff," Franco said.

Instead of having to find a manager and figure out how to get auditions for TV shows and films, aspiring actors can just find some talented friends, write up a clever bit, shoot it with their smartphone, and post it on YouTube. It's as easy as that.

"And once you start making stuff you’ll be able to see if people like this, are people responding to this, do I respond to this, and then at that point you can say, 'alright I’m going to make more and get better or realize, oh, maybe I wasn’t made for this,'" Franco said. "But it’s so much easier to make things now."

SEE ALSO: James Franco Busted For Allegedly Trying To Pick Up Teenage Fan On Instagram

MORE: James Franco Defends The Power Of Selfies In NY Times Essay

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