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Feminist Critic Anita Sarkeesian Canceled An Appearance At A University Because Of Death Threats

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Anita Sarkeesian

Feminist culture critic Anita Sarkeesian was forced to cancel a speaking engagement at Utah State University on Wednesday because of threats against her and the attending audience. 

Several staff members at the university received an anonymous terror threat from someone claiming to be a student. The email said that "the deadliest school shooting in American history" would occur if the event was not canceled, according to the Standard-Examiner. 

The email said Sarkeesian is "everything wrong with the feminist woman." 

"I will write my manifesto in her spilled blood, and you will all bear witness to what feminist lies and poison have done to the men of America," the email also said. 

Sarkeesian, who is the author of the video series Feminist Frequency, tweeted that she didn't cancel the talk because of the threats, but because she didn't think the venue was secure. 

In a statement, the Utah State University confirmed the threats and the cancelation of the event.

"During the discussion, Sarkeesian asked if weapons will be permitted at the speaking venue," the statement says. "Sarkeesian was informed that, in accordance with the State of Utah law regarding the carrying of firearms, if a person has a valid concealed firearm permit and is carrying a weapon, they are permitted to have it at the venue."

This isn't the first time Sarkeesian was threatened, nor is it the first time she was threatened at a large speaking engagement. Authorities are investigating a bomb threat that was made back in March at the Game Developers Choice Awards, according to Kotaku. The awards continued without incident. 

In August, Sarkeesian was forced to leave her home following rape threats

There has been a huge controversy in the gaming industry recently — called GamerGate — in which some video game fans claim that game developers and journalists have relationships with each other that are too close, breaching ethical guidelines for writers reviewing video games. 

GamerGate is also being blamed for various threats against women. Sarkeesian says at least one of the many threats against her and feminists at the university claimed affiliation with GamerGate

GamerGate has created such a firestorm that Intel pulled advertising from gaming site Gamasutra over an opinion piece about sexism in the gaming industry

You can read more about the intricacies of GamerGate over at Gawker. 

We've reached out to Sarkeesian and will update this post when we hear back. 

SEE ALSO: 'LEAGUE OF LEGENDS' FINALS: Meet The Kids Facing Off In The Biggest Sporting Event Of The Month

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Why Iron Man Needs To Be In 'Captain America 3'

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The Avengers shot, MarvelOn Tuesday, Variety reported that Robert Downey Jr. was in final negotiations to reprise his role as Iron Man in "Captain America 3." 

The film is expected to follow the events of the Civil War comic books in which the two heroes clash over a law asking superheroes to reveal their identities and register in a government program.

Expect to see Iron Man vs. Captain America as they go head to head when "Captain America 3" hits theaters May 6, 2016.

captain america punches tony stark iron man

Why would Disney and Marvel add Iron Man and pit two of its most popular heroes against each other? 

Disney needs to be able to hold its own against Warner Bros.' hugely anticipated "Batman V Superman" film, also out in 2016. It's a movie Warner Bros. tried to make in the early 2000s before scrapping it.

Warner Bros. originally set the date for its "Batman V Superman" film to July 2015 before pushing it back to May 6, 2016— the weekend where Disney has released both its "Avengers" and "Iron Man 3" films. Both grossed more than $1 billion at theaters.

Warner Bros. later decided to move the date of its superhero film up to March 25, 2016, to avoid going head to head with "Captain America 3."

captain america vs batman

While Disney and Marvel may very well have had this plan in play for a while (the Mouse House claims to have a schedule of Marvel films at the ready through 2028) there's another good reason to add Iron Man to a "Captain America" sequel.

Now that "Batman V Superman: Dawn of Justice" will hit theaters six weeks ahead of Disney and Marvel's "Captain America 3" they need a huge answer to Batman and Superman going toe to toe in a big action film. 

Take a look at the box-office grosses of every live-action Batman film since 1989. With the exception of 1997's "Batman & Robin," the bat has always performed in theaters, no matter which actor has donned the cape and cowl.

Box office Totals for Warner Bros.' Batman Movies

TitleYearWorldwide Box Office
"Batman"1989$411.3 million
"Batman Returns"1992$266.8 million
"Batman Forever"1995$336.5 million
"Batman & Robin"1997$238.2 million
"Batman Begins"2005$374.2 million
"The Dark Knight"2008$1 billion
"The Dark Knight Rises"2012$1.1 billion

How do you compete with that? Feature your own superhero brawl between two beloved superheroes going toe to toe.

While Batman has always been a lucrative franchise for Warner Bros., Disney has the edge with another "Captain America" sequel for two simple reasons.

Audiences are more receptive to two characters — Robert Downey Jr.'s Tony Stark and Chris Evans' Steve Rogers — they've seen on screen for years now than to a Ben Affleck Batman whom the jury is still out on and a Superman who received mixed reviews in 2013's "Man of Steel."

With Iron Man expected in the film, fans won't see "Captain America 3" simply as a sequel to "Captain America: The Winter Soldier," but also as the "Iron Man 4" movie for which they have been asking

It's a win-win for Disney's ongoing cinematic universe while Warner Bros. rushes to roll out superhero films to set up two "Justice League" films in 2017 and 2019.

SEE ALSO: Warner Bros. Announces Release Dates For 2 "Justice League" Films

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The Next Billion Dollar Sports League Could Be Giant Robots That Fight To The Death

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megabots gif, nycc 2014

Perched on a balcony of the Javits Center, where New York Comic Con was held over the weekend, a 15-foot-tall, seven-ton steel behemoth greeted costumed attendees as they rode up the escalator.

Two engineers scaled the support structure and disappeared into the copper-colored body. The pilot closed a front-facing gate and took hold of the joysticks. The Megazord-like structure rumbled to life and its right arm, its only arm, swung to take aim at the crowd. It seemed angry; the crowd was loving it.

This is MegaBot, the first of its kind. Its creators are three engineers on a mission to usher in the next generation of major sports leagues: Robot SmackDowns. Co-founders Andrew Stroup, Gui Cavalcanti and Matt Oehrlein spoke to Business Insider exclusively about their vision for a serialized, possibly televised competition in which these colossal bots fight to the death.

"Is this the evolution of WWE, UFC, and NASCAR? Giant, fighting robots?" Stroup asks, seriously. "We think so."

MegaBot Concept Art, nycc 2014

"Pacific Rim" Come To Life

Stroup, an aerospace and mechanical engineer by way of the Department of Defense, and Cavalcanti, a mechanical engineer and founder of Artisan's Asylum, met in 2012 as competitors on Discovery Channel's elimination-style engineering competition show "The Big Brain Theory: Pure Genius." Their mutual love of robotics led them to continue designing and prototyping parts long after the show aired.

"We've been primed for this our entire lives," Cavalcanti says. The idea for the league grew out of their lifelong obsession with robotics and video games; they grew up with one foot in reality and the other in the futuristic war zones of MechWarrior and StarCraft. After completing a year's worth of research and development, they recruited Oehrlein, a control theory engineer with a legendary reputation in the hacker-makerspace community, and quit their jobs to make MegaBots a reality.

megabots, nycc 2014

Stroup, Cavalcanti, and Oerhlein secured starter funds from an unnamed angel investor — one who "raised a hand in the crowd" because he believed in their ambition — and began construction in Artisan's Asylum four months ago. It's a nonprofit design and manufacturing shared space in Somerville, Massachusetts.

Each co-founder contributes a unique skill set: Cavalcanti uses physics and engineering principles to turn concept art into steel, Stroup welds and develops the fluid power systems, and Oehrlein designs software for the control systems, or "the brains of the robot." And with the help of about 10 other developers, they've completed the first MegaBot's fully functioning torso, cockpit, arm, and two main weapons systems.

How The League Works

The team hopes one day fans will root for bots the way they do for racing's Jeff Gordon, ultimate fighting's Ronda Rousey, and boxing's Floyd Mayweather, Jr.

"With NASCAR, the UFC, and WWE, there’s a platform on which they operate,” Stroup says. Race car drivers compete on tracks across the country, while boxers sell out arenas. These events are streamed on television or Pay-Per-View. Networks strike deals with the leagues for the rights to play their content exclusively. They're money-making machines.

Competitors create brands within those leagues, moving from city to city and carrying that brand recognition. "The masses attach to them," Stroup explains. The more exposure competitors have, the more the audience becomes engaged and interested in the overall league.

megabots, nycc 2014MegaBots, Inc. plans to copy that model. Assuming it raises enough money to build a fleet, its plan is to take the bots on the road. They will tour the country, face off in epic battles against other MegaBots, and build a fan base. Stroup says (without giving specifics) networks have reached out and will closely watch how MegaBot, Inc.'s upcoming Kickstarter campaign performs. The possibilities for distribution seem endless, though the team is tight-lipped about the exact direction it's headed.

"These Aren't Rock 'Em Sock 'Em Robots"

In existing robot battles, the player controls his or her droid using a glorified remote control from the other side of the room. The sense of imminent danger is lost.

In a MegaBots battle, a two-member team sits inside the bot's upper torso, where the controls systems are housed. Although the co-founders assure me that the pilot and gunner are well protected inside, the situation presents a heightened suspense.

Each 15,000-pound robot is equipped with six-inch cannons inside its arms that fire paint-filled missiles and cannon balls at 120 miles per hour. Good aim can cause enough damage to jam its opponent's weapons system or shoot of a limb. "These aren't Rock 'Em Sock 'Em Robots," Stroup laughs.

megabots, nycc 2014The-counders haven't yet determined the fight rules (or at least aren't sharing them). But when standing in the shadow of the 15-foot-tall steel beast at New York Comic Con, it's hard to imagine it will be anything other than entertaining to watch.

What Comes Next For MegaBots

MegaBots presents a chance to close the gap between technology and sports, inspire a new generation’s love of robotics, and create an entirely new revenue stream. The co-founders estimate that MegaBots could match annual revenues of existing, comparable sports leagues, between ticketing, cable network deals, sponsorships, and merchandise. For reference, the WWE is valued at $1 billion; the UFC, $1.65 billion; and the International Speedway Corporation (which derives approximately 90% of its revenues from NASCAR), $1.35 billion.

Getting there won't be easy.

While an angel investor has taken the team this far, MegaBots is enlisting the help of sports and robotics fans to carry them the rest of the way. They’re launching a Kickstarter campaign later this month with the goal of raising a seven-figure sum. It’s a hefty price, but not totally unexpected. “We’re not building iRobots,” Stroup says. “There’s seven tons of steel in these bots."

megabots, nycc 2014The number of MegaBots created in the next year is directly correlated to how much money the team raises. If the Kickstarter campaign meets its goal, they hope cable networks will interpret it as an indication of the public's interest in the sport. More "talks" of a TV show or special may follow.

And when I ask who will comprise the teams that man the bots, Stroup offers a tease: “There will be interesting incentives for Kickstarter engagement."

We’ll update this page with a link to the Kickstarter campaign when it launches in October.

SEE ALSO: The 22 Coolest Things To See At New York Comic Con

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The CEO Of Sony Music Is Selling His Ritzy New York City Condo For $11.5 Million

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Doug Morris, CEO of Sony Music Entertainment and founder of music-video giant Vevo, has listed his New York City apartment for $11.45 million. 

Morris purchased the two-bedroom condo for $10 million back in 2007.

Amenities include a chef's kitchen, private master suite, and 1,985 square feet of space in the glamorous Plaza Hotel.

The condo faces north, giving it some amazing views of the southern end of Central Park. 

doug morris condo

The inside has some very purple decor.

doug morris condoThe foyer has dark wood and antique mirrors.

doug morris condo

The apartment has two bedrooms, each with their own bathroom. 

doug morris condo

This suite even has its own fireplace.

doug morris condoThe Plaza is a gorgeous New York classic.

plaza hotel

SEE ALSO: Take A Tour Of Mark Zuckerberg's Gigantic New $100 Million Property In Hawaii

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‘Shark Tank’ Investor Talks About Hating Mark Cuban, His Best Deal So Far, And The Key To Success For Any Startup

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shark tank

Robert Herjavec is one of the most successful tech entrepreneurs in the world.

He sold his first company BRAK Systems for $100 million to AT&T, and another one for $225 million to Nokia. His current company, The Herjavec Group, is Canada’s largest IT security company, with more than $150 million in sales.

Although he may not be a household name, Herjavec is now a popular TV personality, too, thanks to his role on ABC’s reality pitch show, “Shark Tank.”

Unlike some of his counterparts on “Shark Tank,” Herjavec is known for making more shrewd investment decisions, and trying not to instigate as much tension as Mark Cuban or Kevin O’Leary does on the show.

Business Insider had a chance to meet with Herjavec this week, when he was in town for FinancialForce.com’s Community Day event. He revealed his relationship with the other judges, especially with Mark Cuban, and his thoughts on running a successful business.

Here’s what Herjavec had to say (the interview has been slightly edited):

Business Insider: What was the best and worst deals you’ve done so far on “Shark Tank”?

Robert Herjavec: The best for me has been Tipsy Elves. It’s just incredible to me that people love being ugly. And they buy inappropriate, ugly Christmas sweaters. When they came on the show, they were doing about $600K a year, that was 2 seasons ago, and we’ll do $12 million this year. It’s just one of those stories. And that’s what we’ve learned, all of us on the show, that to have a great investment, you have to connect with the consumer. The business of America is consumerism, so if you can get a product that people will buy right away, you can do really well with it.

The worst, I haven’t had a really bad one yet. I always like to say I haven’t lost any money — yet. There’s probably going to be a few of them that I’m going to have to write off soon, but they are still plugging along.

BI: What really drew you into investing in Tipsy Elves?

RH: Well, they had sales, and they’re great guys. I’m pretty busy, so I like to invest in people that I like to hang with, and also want to run a business together. For me, I always want to invest in somebody who’s incredibly, deeply passionate about the business, and these guys wanted to run a business. I mean they wanted to be there 24/7.

I didn’t feel like I had to worry about them, wander around their business. Because some people that come on the show think that once they get the investment, it’s over. They think they got the money, so they can sit back and relax. And what we say to them is, that’s just the beginning, that’s just the start. You got to go.

BI: Do you ever get offended when contestants seem to wait for Mark Cuban to make an offer, even after you put in an offer first? Do you hate it when Cuban steals a deal from you?

RH: Oh yeah, absolutely. Of course, we all get offended. But I hate it when Kevin gets a deal from me, or when Lorie steals a deal from me, too. But man, I used to hate Mark for the first two years. And he didn’t like me either. And we really get pretty emotional about these stuff.

We have a segment coming up where, I can’t tell you about the whole thing yet, but Lorie, Mark, and I got into an argument, and I walked off, because the next words out of my mouth were going to be rude and not very nice to them. I actually stood up and said, I have a lot of respect for you, but you’re just really pissing me off right now. And I got up and walked out. And then Mark said, I have no problem being rude (laughs). That’s coming up this season.

But I think we respect each other, so we can yell at each other and then have lunch together. Mark and I were just at a bar, and we had a little too much to drink, and we kind of had a man hug, and we kind of hugged it out.

BI: Why do you think contestants seem to want Cuban more?

RH: I think when Mark first came in, it kind of shifted everything because he was so big, and he invested in everything. But I think a couple of things have happened since then. I think we’ve all figured out how to deal with Mr. Cuban, and I think Mr. Cuban’s lost enough money to realize, ‘Oh, I shouldn’t invest in everything.’

So I think, this season, you’re seeing a much more balanced approach. And what people have realized too is, just because Mark’s super wealthy, it doesn’t mean anything for the success or the value of their business.

The Herjavec Group CEO Robert HerjavecBI: What makes Shark Tank so great?

RH: It’s the American Dream. It’s the desire to better one’s position in life, and who doesn’t have that desire? I think when people watch the show, they always think, ‘That could be me,’ and it really could. I mean, anybody can get on our show. Mind you, we’ve had 145,000 people apply this year, and 230 got on. But it’s the only show where you don’t have to have god-given talent in order to be successful. You don’t have to have a voice, and you don’t have to be able to dance. You can come on with an idea, and get an investment, and become very wealthy.

BI: So you don't think entrepreneurs are born with entrepreneurial skills?

RH: Absolutely not. The key to entrepreneurial success is simply weighted against your desire to improve your situation in life. People say to me all the time, ‘Oh, I wasn’t born that way.’ And I say, you haven’t suffered enough pain. Trust me, if you suffered enough pain like I have, you’re going to make yourself an entrepreneur.

Most immigrants that came to this country didn’t come to these shores saying, ‘Oh, I’ll see if I could do a little bit better.’ When they landed here, they didn’t have anything. They didn’t have the choice to think about, ‘Oh, I want to start a business, I want to get ahead.’ They were simply forced to do it.

BI: Do we need more immigrant entrepreneurs?

RH: Absolutely. One of the downfalls of this country is that only to Americans is America no longer the land of opportunity. Everywhere else in the world, this is the land of opportunity, hallelujah. I mean, I went on a cruise the other day, and I went by the Statue of Liberty, and I got really emotional. I mean, I looked at it and said, ‘Everywhere in the world, this is freedom.’ And I think we’re just too myopic sometimes in this country.

BI: So what’s the key to success for any startup/company?

RH: If you can’t inspire the people around you, you are going to fail. If you can’t inspire the people around you, you should go sell real-estate, because that is probably one of the only businesses where you could make a lot of money working completely on your own. But I think if you want to build a great business, you’ve got to bring other people along, and nobody wants to be managed. People want to be led.

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‘Game Of Thrones’ Actor Will Play Aquaman In New Movie

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aquaman jason momoa

After much denial, it’s finally official! 

Jason Momoa of “Game of Thrones” will play “Aquaman” in his own standalone movie scheduled for 2018. 

Warner Bros.’ Chairman and CEO Kevin Tsujihara made the announcement Wednesday morning during an investors conference where he revealed the studio’s upcoming film schedule. 

In the Warner Bros. press release, there's a minor note confirming Momoa will star as the King of the Seven Seas.

Momoa is best known for his role as Khal Drogo on HBO series "Game of Thrones."

khal drogo game of thrones

Prior to the announcment, Momoa refused to confirm or deny any rumors about playing Aquaman in any film adaptation.

Back in June, Hitfix reported Momoa will also appear in a brief role in 2016's "Batman V Superman" movie.

"What we're hearing is that he [Aquaman] is not pleased about the World Engine and what it did to the Indian Ocean."

SEE ALSO: The "Justice League" movie is coming in 2017

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Iraqi TV Has Launched An Amazing New Sitcom — About ISIS

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ISIS Sitcom

While Iraq, the Kurds, Iran, and America's allies continue their military campaign against ISIS, Iraqi artists are attacking the group with a weapon of their own.

A few weeks ago Iraqi TV launched a new sitcom that uses humor, songs, and kitschy costumes to mock the Islamist group that has taken control of numerous towns in the country's north. The title of the show roughly translates to "Fairytale State," though some news outlets have translated it as "State of Superstition."

The sitcom's director, Ali al Qasem, told 7:30 Australia they were fighting against the group's use of fear and terror. "By tackling this issue with humor, you can reduce the fear of Islamic State among people, particularly children," he said

The sitcom is set in a fictional Iraqi town that has been taken over by Islamic state. ISIS leader Abu Bakr al Baghdadi, who is seen hatching from an egg, takes control of the city with his high-strung dwarf sidekick.

At one point, the group is shown bickering over the logo for its flag.

ISIS Sitcom

"The Islamic State's appearance, the way they look, is terrifying. By presenting them in a comedic way, I think we can help people to overcome that fear," al Qasem said

Baghdadi's group goes on to create the "Blood Broadcasting Corporation" — The BBC — with a male anchor welcoming viewers while his female colleague struggles to cover herself with a sheet. 

“Hello and welcome ISIS and infidels," the anchor intones.

Future episodes appear to feature Islamic State holding the Olympics, shooting runners on the track to ensure their athlete wins.

ISIS Sitcom

“The whole world is talking about ISIS — America, France — but once you make fun of them, they’re finished. I think this is the response they deserve," al Qasem said.

In the final scene, Baghdadi conducts a chorus of ISIS militants and former Saddam Generals as they sing about their murderous exploits. Having killed everyone else, Baghdadi begins shooting his own people, and then blows himself up. 

According to Al Arabya, a clip of the show's theme song has gone viral. One clip has reached over 440,000 views on YouTube.

ISIS Sitcom

SEE ALSO: 10 Ways Muslims Are Using Sharia Law Against ISIS

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Bill Murray Is The Only Redeeming Factor In His New Movie 'St. Vincent'

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st vincent bill murray

"St. Vincent" is amusing, but it's overly-sentimental tone and barrage of clichés dampen its lasting appeal. The entire trajectory of the story is painfully obvious from the get-go, but star Bill Murray is such a joy to watch that he makes the journey worthwhile.

Murray plays Vincent, a curmudgeonly alcoholic riddled with debt who offers to babysit his neighbor's son solely as a means of getting some extra cash to blow at the racetrack. As one might expect, over time, we learn that underneath his hostile exterior lies a heart of gold. This familiar plot can be applied to a great number of other films, but "St. Vincent" distances itself from the pack solely because it's a starring vehicle for Bill Murray. He elevates every scene with his sarcastic banter and sheer indifference to everyone else.

Melissa McCarthy is underused as Murray's overworked neighbor, Maggie, who is too busy working long hours to provide for her son Oliver (Jaeden Lieberher) since her husband left the family. This is just one of many sappy flourishes that exists to get a rise out of the audience and make them reach for some Kleenex. McCarthy doesn't have much to do here and pretty much is there to react to Bill Murray's kooky antics, which is a shame considering how talented and funny she can be when given a proper role. Naomi Watts is also great in a rare comedic role that proves she can tackle just about anything. 

st vincent posterEarly in the film, Oliver's teacher (played by the always hilarious Chris O'Dowd) assigns the students to find a "real life saint," and it's clear where the story is headed. There are zero surprise along the way as Murray and the boy start to bond — it essentially plays out like a less-crass "Bad Santa." It is so familiar that without Murray, it's likely the film never would have made it to the big screen.

That being said, it's easy to just sit back and enjoy the ride as Murray's on-screen presence is enough of a driving force to carry the film and make you forget that you already know what's going to happen. It's fun to watch the closed off, abrasive Vincent deal with a sweet innocent kid, which is basically the whole movie. It's not bad by any stretch of the imagination, it's just too overt and safe. By the time it circles back to Oliver's presentation on sainthood, it plays out how you'd expect, and then it's over.

"St. Vincent" is too concerned with manipulating the audience's emotions to truly be a great film. It's a rollercoaster of emotional peaks and valleys that just wants to make you feel good by the end, and the audience I saw it with seemed to eat it all up. Murray makes the most of it, though, and gives a thoroughly entertaining performance that makes it easy to forgive the film's many shortcomings.

SEE ALSO: 'St.Vincent' Filmmaker Describes The Crazy Process Of Casting Bill Murray

MORE: 'Birdman' Starring Michael Keaton Is The Best Movie Of The Year

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Here’s Why This ‘Shark Tank’ Investor Says He Hated Mark Cuban For 2 Years

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Shark Tank

If you’re a fan of ABC’s reality pitch show “Shark Tank,” you know how things can really heat up quickly among the panel of judges, or "sharks."

Every week, contestants pitch their business idea to the sharks, who either decide to invest in the startup or pass. Each of the sharks is an extremely successful business owner, and they all have millions (if not billions) of dollars sitting in their bank, competing to invest in the next big thing.

So on almost every episode, viewers get to see the sharks, including Mark Cuban, engage in almost WWE-like trash talking and big brouhaha moments. 

But if you ever thought those moments were scripted, you’re wrong.

According to Robert Herjavec, the CEO of The Herjavec Group and also one of the sharks, those heated moments could lead to real animosity among the judges.

“Man, I hated Mark for the first two years. And he didn’t like me, either,” Herjavec told Business Insider. “We really get pretty emotional about this stuff.”

Herjavec said tensions had even led him to walk off the set while filming one of the episodes this season. “We have a segment coming up where, I can’t tell you all about it, but Lori, Mark, and I got into an argument," Herjavec said, referring to Lori Greiner, another shark. "And I walked off because the next words out of my mouth were going to be rude and not very nice to them. 

"I actually stood up and said, 'Look, my mom told me that if I can't say anything nice, I shouldn't say anything at all, but you're just really pissing me off right now.' And I got up and walked out. And then Mark said, 'I have no problem being rude.'"

Cuban often happens to be at the center of a lot of these arguments because he’s by far the richest among the judges and is capable of stealing some of the deals with higher offers. Some of the contestants also seem to like him better, waiting until he extends an offer, even after the other judges have made an offer earlier than he did.

“Of course we got offended; we hated him. But I hate Kevin when he gets a deal from me, and I hate Lori when she steals a deal from me, too,” Herjavec said of Greiner and his fellow shark Kevin O'Leary.

But Herjavec said things had changed in the latest season of “Shark Tank,” as Cuban realized his investment strategy wasn’t always working. 

"I think when Mark came in, it kind of shifted everything because he was so big, and he invested in everything," Herjavec said. "But I think we've all figured out how to deal with Mr. Cuban, and I think Mr. Cuban's lost enough money to realize, 'Oh, I shouldn't invest in everything.'

"And what people have realized, too, is, just because he's super wealthy, it doesn't mean anything for the success or the value of my business."

Herjavec seems to have a point in describing Cuban as investing in "everything." Over the first four seasons, Cuban invested in the most deals and spent the most money of the sharks, according to this blog on “Shark Tank.”


NOW WATCH: 'Shark Tank' Investor Reveals Mark Cuban's Strategy On The Show And The Real Drama Behind The Scenes

SEE ALSO:  ‘Shark Tank’ Investor Talks About Hating Mark Cuban, His Best Deal So Far, And The Key To Success For Any Startup

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Netflix CEO Reed Hastings: 'Internet TV Is Going To Be Everything In A Couple Years'

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netflix reed hastingsNetflix stock was tanking after third quarter earnings showed the streaming service delivered fewer subscribers than expected.

During Netflix's Q3 earnings call, CEO and co-founder Reed Hastings made the case for online streaming saying "internet TV is going to be everything in a couple years."

"Everything that we're seeing is completely consistent with the whole society, not only the US, but around the world, is moving to Internet video and internet television," said Hastings. "We saw Starz a week ago announce that they're doing an internet video service. We saw HBO. Perhaps there will be other providers over the next coming weeks."

Hastings added that big television networks are moving to internet video. 

He also commented on Time Warner's announcement about HBO offering a stand-alone streaming service in 2015 and how it will impact the streaming site from a competitive standpoint.

"On the consumer side it's one more channel. Already consumers subscribe to us and Hulu and Amazon and they do Pay-Per-View and they do DVD and they do cable. Consumers subscribe to many of these," said Hastings. "Theres's not much of a change in the direct competitive landscape. We and HBO have completely different content. I don't think it will be a significant impact at the consumer level. As we bid for content that's more significant."

SEE ALSO: Netflix crashes after earnings

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Here's How 'Hannibal' Creates Food That Looks Like Human Flesh — And Looks Delicious

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hannibal renewedOne of the most interesting aspects of NBC's "Hannibal" is the incredible amount of attention paid to the meals prepared by the show's titular character. We all know Dr. Hannibal Lecter is a cannibal, but the series presents his obsession in a new light by focusing on the fact that the man is a master of the culinary arts as opposed to a human-eating savage.

While the show gets gory, the scenes showcasing food are so well shot and mouthwatering that they resemble culinary masterpieces prepared on the Food Network.

"Hannibal" doesn't return to NBC until next summer, but as shooting begins this month for season 3 in EuropeBusiness Insider spoke with the show's food stylist, Janice Poon, to get some insight on how it's decided what food will double for specific body parts in Hannibal's unconventional, exotic cuisine. 

"I can either rely on my feeble understanding of anatomy or I can ask Dr. Google what the dimensions are, what the skeletal structure is ... just the general appearance and then I think, okay, what in the grocery store looks like what I'm looking for," Poon tells us. "It doesn't always have to be meat ... sometimes an eggplant will look like what you're looking for, like a wrist or something. Then you have to know the bone structure. It's got a tibia, but I need a fibula, or maybe it's the other way around."

hannibal food stylist janice poon

Poon says preparing for an episode usually involves getting a simple rundown from series showrunner Bryan Fuller and receiving input from celebrity chef José Andres.

"A lot of times, I'll get a late night email from Bryan saying 'We need a recipe for a leg, what can we do with this leg?'" Poon tells Business Insider. "I don't think this is a spoiler of any type, in an upcoming episode Hannibal will be eating somebody, and it will be a leg. They had this idea going around in the writer's room that they wanted to do a kind of a hallucinogenic evil witch thing, so they wanted to do some sort of candied meat. I don't know if they just put words in a hat and pull them out and say 'Ok, candy. Ok, meat' and then email me, but it sure seems like it."

hannibal food stylist calf legPoon says it's not always easy to convince the showrunners that her ideas will work. She once had to send a photo to showrunner Bryan Fuller to get the go ahead.

"I remember there was some doubt as to whether this shank that I was preparing would actually look like a cow's leg, so I put a sock on it and a shoe, put it up against my leg and took a picture and emailed Bryan, and they bought it," Poon said.

Poon says it helps to have a "very, very cooperative butcher or a guy at the abattoir is key, too." She prefers shopping at ethnic markets, where she gets "different cuts that you wouldn't get at your local grocer."

Due to the volume that Poon goes through during shooting one scene, she says she tries to get something that's easily available.

"Something that I can get from a butcher where they're not going to say 'Well what are you going to use that for, that's not how you cut it!'"

Below is one of Poon's sketches from the very first episode of "Hannibal," when she was tasked with preparing a meal that featured a human lung. She added tomato toast, onions, mushrooms, and grilled baby tomatoes with herbs to balance it out.

hannibal food stylist lung drawing

Poon recalled that "pork organs are almost exactly the same size and shape as humans" and used this knowledge to prepare the meal. "There's a loveliness about [the lungs], but of course there's a grisliness too."

She succesfully turned this:

hannibal food stylist pig lung

... into this:hannibal cooking fixedhannibal cooking 3 hannibal cooking 4

By episode 2, Poon had to figure out how to turn a pork loin into a delectable dish consisting of a woman's thigh meat.

hannibal pork loin

Here's Poon's sketch for episode 2, which consists of the "thigh" slices, caramel shards, a glazed apple wedge, mushrooms and gorgonzola 

hannibal thigh illustration

According to one of Poon's many blog posts, she consulted her niece, a phsyiotherapist, to get the proper dimensions of a thigh bone, which she then cross-referenced with "Dr. Google" as seen below.

hannibal thigh research

On the show, Hannibal served up the finished meal to FBI special agent Jack Crawford (Laurence Fishburne).

hannibal pork loin 1hannibal pork loin 2hannibal pork loin 3

Bon appétit!

hannibal pork loin fishburne

Poon says they like to aim for a balance between appetizing and nauseating when creating dishes.

"I want to maintain that underlying threat, I think that's the key goal, to make it right on that knife edge of really appetizing and really scary. It's like that excitement of 'I'd love to eat it, but will it kill me?' While shooting my favorite thing to hear from the crew is 'Oh, that looks disgusting, can I try it?' That's the reaction I'm going for — something that is so alluring, just like Hannibal himself. We know he's a monster, we know that he's just the worst imaginable person, but we love him and it's inexplicable, so that's what I'm going for, too."

SEE ALSO: 'Hannibal' Is The Best TV Show That No One Is Watching

SEE ALSO: AND: Why no one is watching NBC's excellent "Hannibal"

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Christian Bale Will Play Steve Jobs In Sony's Next Biopic (AAPL)

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Christian Bale will play Steve Jobs in Aaron Sorkin's forthcoming biopic, according to Variety's Justin Kroll, citing sources.

Leonardo DiCaprio had been under consideration for the lead role in "Jobs," but the actor declined the roll two weeks ago.

"Jobs" is based on Walter Isaacson's wildly successful biography of the late Apple cofounder, "Steve Jobs."

Bale has been on the short list to play Jobs since last March, when David Fincher was reportedly directing the film.

Fincher has since backed out of directing "Jobs." The film will be directed by Danny Boyle instead.


NOW WATCH: Size Matters — A Guide To The iPhone 6 Plus For The Regular Guy

 

SEE ALSO: Leonardo DiCaprio Won't Play Steve Jobs In Sony's Next Biopic

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The US Marine And Korean Army Bands Had An Awesome Drum Battle

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A competition between the U.S. Marine Band out of Okinawa, Japan and the Republic of Korea Army Band was luckily captured on video.

Filmed in the parking lot at the 2014 Gyeryong Military Culture Festival, the two bands faced-off against each other with some pretty awesome drum battles as a crowd looked on. It's obviously a friendly match — South Korea and the US are allies — but the video certainly shows where music can break through a language barrier.

The Marines are based in Okinawa, Japan with III Marine Expeditionary Force. You can decide for yourself who wins this one, but the Marine band leader graciously called it a tie.

It's pretty cool to watch. Check it out:

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Bill O'Reilly And Jon Stewart Had An Epic Showdown Over White Privilege

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jon stewart bill oreilly

Fox News host Bill O'Reilly faced off against comedian Jon Stewart on Wednesday night about the existence of "white privilege."

Things got heated. The two television personalities, who have tussled on each other's shows in the past, repeatedly shouted over each other and shot snide remarks back and forth for most of the 12-minute segment. Later on, O'Reilly turned to Stewart's "Daily Show" studio audience to engage it directly.

"You think I'm sitting here because I'm white? What are you, a moron? I'm sitting here because I'm obnoxious, not because I'm white!" he exclaimed.

In August, O'Reilly had a high-profile debate with another Fox News anchor, Megyn Kelly, on white privilege. Kelly passionately argued that it was an issue, while O'Reilly dismissed the concept. Stewart began his own interview with O'Reilly by tossing aside O'Reilly's new book — apparently the intended subject of the discussion — to return to the racial debate.

"This is all I want from you today. This is it," Stewart began. "I have one simple question: I want you to admit that there is such a thing as white privilege. That's all I want you to do ... I just want you to say, 'I'm terribly, terribly wrong on this.'"

O'Reilly quickly mocked Stewart's looks in return.

"In your case, there is white privilege," O'Reilly said. "The fact that you're here, sitting there. He doesn't even shave. He doesn't even — look at you."

The discussion quickly pivoted back to the substance of the issue as the two debated the lasting effects of slavery and Jim Crow laws. Stewart argued that O'Reilly, who came from an overwhelmingly white Long Island town, was a direct beneficiary of white privilege.

"This is the usual white guilt liberal stuff," O'Reilly replied. He soon added, "Let me repeat this, and I'll do it slowly so even you can understand it: If you work hard, if you get educated, if you're an honest person, you can make it in America!"

Watch the full segment below.

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CBS Just Announced A Digital Streaming Service

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One day after HBO announced its intentions to offer a standalone streaming service to customers, CBS on Thursday said it's bringing its programming directly to consumers through a new digital subscription video service, which costs $5.99 a month.

CBS says the new service, called "CBS All Access," will offer thousands of episodes from current and previous seasons of CBS shows, as well as "classic shows," all on-demand. It will also live stream local CBS stations in 14 of the largest US markets — but it won't be truly "all access," since it will not be streaming NFL games on its new platform.

Here is the company's press release, courtesy of CBS.

NEW YORK – Oct. 16, 2014 – CBS Corporation today announced the launch of CBS All Access, a new digital subscription video on demand and Nielsen-measured live streaming service for the CBS Television Network. CBS All Access will offer subscribers thousands of episodes from the current season, previous seasons and classic shows on demand, as well as the ability to stream local CBS Television stations live in 14 of the largest U.S. markets at launch.

CBS All Access is available beginning today at CBS.com and on mobile devices through the CBS App for iOS and Android. The service allows fans to watch more CBS programming online and on mobile devices, while introducing yet another monetization window for the Company’s industry-leading content. CBS All Access will be available on other major connected devices in the coming months.

CBS All Access is another key step in the Company’s long-standing strategy of monetizing our local and national content in the ways that viewers want it,” said Leslie Moonves, President and CEO, CBS Corporation. “This new subscription service will deliver the most of CBS to our biggest fans while being additive to the overall ecosystem. Across the board, we continue to capitalize on technological advances that help consumers engage with our world-class programming, and we look forward to serving our viewers in this new and exciting way.”

For $5.99 per month, CBS All Access includes the following programming, with more to be added in the coming months:

  •  Full current seasons of 15 primetime shows with episodes available the day after they air.
  •  Unprecedented ability to live stream local CBS stations in 14 of the largest markets at launch, with more to be added as affiliates join the new service.
  •  Full past seasons of eight major current series, including THE GOOD WIFE, BLUE BLOODS and SURVIVOR.
  •  More than 5,000 episodes of CBS Classics, including every episode of STAR TREK, CHEERS, MACGYVER, TWIN PEAKS and CSI: MIAMI.
  •  Access to exclusive additional content for CBS Television’s biggest special events, such as THE GRAMMY® AWARDS, THE ACADEMY OF COUNTRY MUSIC AWARDS and THE VICTORIA'S SECRET FASHION SHOW.
  •  Ability to stream the BIG BROTHER 24/7 Live Feeds service for no additional fee when the show returns next summer.
  •  Advertising-free environment for all CBS Classics.

CBS All Access offers an even more robust viewing experience on CBS.com, the #1 network website across platforms (comScore), and the CBS App, which has been downloaded more than 10 million times.

Jim Lanzone, President and CEO, CBS Interactive said: “Our focus is to develop the best cross-platform video experience possible. We want our audiences to be able to watch CBS’s industry-leading content live and on demand whenever and wherever they want. CBS All Access delivers on that promise by giving our audience not only more CBS content, but also more ways to watch in a seamless user experience. We’ve integrated the service into our existing offerings and look forward to bringing it to all major digital platforms – including additional connected devices – in the coming months.”

CBS All Access brings thousands of episodes to digital platforms, making it simple for fans looking for more CBS content to get it via one easy-to-use, multi-platform service.

Marc DeBevoise, Executive Vice President, Entertainment, Sports and News, CBS Interactive added: “ThroughCBS All Access, we are enabling our biggest fans to tap into CBS’s content – including the current seasons of many of the biggest shows on television – and bring it to existing and new audiences alike. CBS All Access reflects our efforts to distribute as much of our leading content as possible on new platforms in ways that are strategically sound and provide additional value to our audiences.”

The ability to live stream local CBS stations through CBS All Access was built in close collaboration with CBS’s owned and operated stations. Syncbak, in which CBS has a minority investment, powers the delivery and geo-targeting of the live feeds to in-market subscribers. At launch, live streaming will be available in CBS’s 14 owned and operated markets, including: New York City, Los Angeles, Chicago, Philadelphia, Dallas, San Francisco, Boston, Detroit, Minneapolis, Miami, Denver, Sacramento, Pittsburgh and Baltimore, with more to be added.

Peter Dunn, President, CBS Television Stations said: “With video consumption habits changing all the time, it is very important that we continue to provide the best local news, entertainment and sports via a service like CBS All Access. Television stations have been the fabric of local broadcasting for 75 years, and today’s announcement is part of paving the way for the next 75. We are extremely pleased to be a part of this exciting new service, and look forward to reaching a whole new set of viewers in our major markets across the country.”

Non-subscribers will continue to have access to the most recent current episodes of CBS programming on CBS.com, select CBS Audience Network partner sites and through the CBS App. Programming will be available the day after the shows air on TV, with an eight-day delay on mobile devices for primetime series only.

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Every Time You Sang Along To 'Frozen,' You Capitulated To Disney’s Carefully Orchestrated Marketing Plans

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Even if you’ve not actually seen Disney’s Frozen at the cinema, you’ve no doubt heard about it somewhere online.

Between the official Disney promos, the YouTube video of a dad and daughter singing along in the car to "Let it Go" (13 million views), or the outrageously cute nurse and teeny girl hospital patient belting out “Love Is An Open Door”— it’s inescapable.

And that was exactly Disney’s plan.

Of all the official online movie ads uploaded by the six big studios this year, almost half (44.2%) of the views went Disney’s way, according to a new report from Unruly. All of Disney’s 10 most-viewed videos (including videos that were paid for and those that weren’t) were related to Frozen.

FrozenAnd unlike most of the other big movie promos between September 2013 and September 2014, Disney's online content push actually peaked after the film’s premiere. People weren’t just searching for the trailer, they were looking for clips of the movie — which Disney duly served — generating millions of organic views and spawning off thousands of related user-generated videos.

Notably, those user videos have not been taken off YouTube at Disney's request, even though YouTube has a robust system for spiking copyright infringing content. We don't know whether Disney deliberately turned a blind eye to other people publishing Frozen song videos, but we can say those videos actually helped Disney's marketing of the movie — free advertising, in other words.

The top-shared Frozen videos were clips of the film launched on YouTube after the movie opened. In fact, the official trailer did not even rank in the top 10 shared videos of the 12 month period studied.

Why is this important?

Unruly says that almost a third (31%) of moviegoers who watch a movie promo (presumably whether that’s paid-for, organic, or a fan version not even made by the studio itself) would purchase a ticket to watch the film, and 28% they’d rent it.

The movie, which had a $150 million production budget, has grossed $1.2 billion at the box office, according to Box Office Mojo. The Unruly study doesn’t provide the exact link between those who saw Frozen videos and those who then went on to see the movie at the cinema, but it’s clear that the huge buzz Frozen has amassed online has built enough intrigue for people to dig into their pockets and watch the real thing for themselves.

What the study also demonstrates to film studios is that their strongest “trailers” probably aren’t their trailers, which goes against most of the received wisdom from decades of marketing their biggest hits. And they can also learn from this study that if a movie has the equivalent of a music video in it — Ed Sheeran’s “I See Fire” video for the new Hobbit movie has more than 34 million YouTube views — all the better.

The two main reasons why people share a video is the strength of the emotional response it elicits and social motivations like shared passions, being part of the zeitgeist and opinion seeking. Expect more studios to get a lot smarter — and a lot more incessant — about the way they advertise their movies online going forward.

Here’s the most watched official Disney Frozen video on YouTube:

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The 10 Funniest Dilbert Comic Strips About Idiot Bosses

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It should be comforting that no matter how much you hate your boss, they can't possibly be as bad as the Pointy-Haired Boss.

The idiot middle manager is central to the popular Dilbert comic series, which was the first syndicated comic that focused primarily on the workplace when it launched in 1989. The character embodies the time wasting, circular reasoning, and ignorant mentality of bad bosses that many workers are all too familiar with.

"If you've ever had a boss, this probably hits home for you," Dilbert creator Scott Adams tells Business Insider.

To celebrate National Boss Day on Oct. 16, Adams shared his 10 favorite Pointy-Haired Boss strips from the archives of Dilbert.com

August 2001



July 2009



August 2009



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'Whiplash' Is So Good Audiences Are Giving It A Standing Ovation

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whiplash jk simmons miles teller

From the very opening shot, as the camera tracks forward towards our young drummer, "Whiplash" thrusts the audience right into its world without any formal introductions. When an imposing figure enters the space and tests the young man's skill, his comments quickly become sarcastic and critical, and the drummer is left to question whether he blew it or not. 

The young man is aspiring drummer Andrew Neyman (Miles Teller) and the imposing figure is Mr. Fletcher (J.K. Simmons), a notoriously harsh but well-respected, world-renowned music teacher at the (fictional) Shaffer Conservatory of Music. We soon learn that Fletcher's harsh dismissal featured in the opening scene was no fluke; it's all a part of his teaching style. As the film progresses, we get an in-depth look at the complicated relationship between the student and his teacher and learn what it takes to become the best at something.

"Whiplash" is a simple and familiar story elevated by two spectacular performances and the sheer energy and immediacy of the film's editing. The camerawork is lively and the way the film is cut to the beat of its own drum (quite literally) essentially screams at the audience that its not to be ignored. The tension between Fletcher and Andrew throughout is expertly handled; we aren't quite sure whether to praise Fletcher's approach or chastise him for it. 

By the end credits, you'll want to stand up and cheer, and the packed house I saw it with at Regal Union Square on a Sunday night did just that — almost everyone in the theater stuck around through the end credits to give the film a proper ovation. 

whiplash posterJ.K. Simmons has always been one of my favorite character actors, and it's amazing to see him finally step into such a commanding leading role. As soon as he steps into a scene, all eyes would be on him if they weren't glued to the floor in fear. His on-screen presence is the very definition of intense, yet there are still tons of laughs to be had via his unorthodox MO. I can only picture one or two scenes in the entire film where he's not screaming horrible insults at Andrew or one of his bandmates, but it's all for the greater good. Simmons is vicious, unapologetic, inspiring and effortlessly hilarious all at once in the role, and it has Oscar gold written all over it.

I've been a huge fan of Miles Teller ever since 20120's "Rabbit Hole" and he completely blew me away in last year's "The Spectacular Now." "Whiplash" gives Teller his best shot at stretching his proverbial muscles yet, and he delivers. His performance as Andrew is everything it needs to be as he toes the line between confidence and total insecurity. His artistic drive shows through, and when Andrew tells his soon-to-be-ex-girlfriend that he must leave her because he wants to be "one of the greats" and she will only slow him down, we believe him. While he certainly gets fed up with Fletcher's methods, it doesn't take him long to realize that Fletcher is only pushing him so hard because he wants him to succeed. It's a brave performance that is the best of his young career, proving that this is just the beginning for Teller.

Early on in the film, Fletcher tells the story of legendary jazz musician Charlie Parker and how Jo Jones once threw a cymbal at his head when he made a mistake, nearly decapitating him. Fletcher's entire demeanor seems to be a direct response to this legend, as he hurls furniture, violently curses and otherwise gets into his student's heads through borderline inappropriate means. 

jk simmons whiplashThe audience is left to ponder what makes somebody a master of their craft; is it inherent, or do barbaric techniques like those employed by Fletcher really make the man? While the question is up to the audience to answer, it's hard to walk away from the film feeling anything but inspired and ready to take on the world. 

The most impressive thing about "Whiplash" is that it takes a story that could have been boring (an exploration of the relationship between mentor and mentee) and makes it one of the most intense, compelling, and visceral experiences of the year. Simmons, Teller and director Damien Chazelle have crafted something special that has to be seen to be believed. 

"Whiplash" is now playing in limited release and expands October 17th. 

SEE ALSO: 'Birdman' Starring Michael Keaton Is The Best Movie Of The Year

MORE: Bill Murray Is The Only Redeeming Factor In His New Movie 'St. Vincent'

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Pixar's 22 Rules For Telling A Great Story

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Ever since Pixar made its first feature-length film "Toy Story" in 1995, it has been capturing the world's imagination with hit movies like "Monsters, Inc.," "WALL•E," and "Up."

It has won 27 Oscars and brought in more than $8 billion in gross revenues. And while Pixar is known for establishing the CGI animated feature and pushing graphical boundaries, it is as much known for its brilliant storytelling that appeals to people of all ages.

Last year, former Pixar story artist Emma Coats took to Twitter to share some of the wisdom she gained working on the films "Brave" and "Monsters University."

Gavin McMahon, cofounder of New York-based communications consulting firm fassforward, collected these insights into a presentation he thinks managers and entrepreneurs can benefit from, whether they're selling an idea or a product. He tells us that effective storytelling is an essential leadership skill. "It's an antidote to increasing complexity, the day to day grind of meetings, email jail, and death by PowerPoint," he says.

We've published the presentation here with fassforward's permission.







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The Truth Is Bill Simmons Would Be Insane To Leave ESPN And His $5 Million Salary (DIS)

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2x1 bill simmons

According to our industry sources and several corroborating reports, ESPN columnist/talking head/producer/editor Bill Simmons is seriously considering leaving ESPN when his current contract is up next year.

Simmons, who reportedly makes more than $5 million a year, is, according to his pals, "furious" at his ESPN bosses over his recent three week suspension, given to him when he insulted the commissioner of the NFL on a podcast and then challenged ESPN to do something about it.

Supposedly, Simmons would like to "go independent but get investment, promotion, sales, tech platform from a partner."

Informed of Simmon's current salary and also of his desire to create his own media company, Kenneth Lerer, the chairman of Buzzfeed and co-founder of The Huffington Post, had the perfect response.

“Knowing what I know now,” Lerer told The New York Times, “I think [Simmons] should say: ‘I had a breakdown, I didn’t mean what I said. I’m back at ESPN and I love it.’ ”

In other words: Bill Simmons would be totally nuts to leave ESPN and strike out on his own.

Two reasons Lerer's advice is good advice:

  • Building a digital media company from the ground up is hard, health-wrecking work.
  • Even if you do successfully build a digital media company, the money isn't necessarily better than the salary Simmons makes now.

There's no doubt Bill Simmons works hard. He's always writing 4,000 word columns, traveling to see and cover sporting events, and managing a staff of a couple dozen at Grantland. And, he reads almost all the emails that his readers send him, which is genuinely impressive.

But does he work as hard as the people who build digital media companies from the ground up?

Back in 2007, when The Huffington Post was two years old and just starting to get huge, Arianna Huffington one day found herself waking up in a pool of her own blood in her office. She thought maybe she had a brain tumor. But then she went to the doctor, and they told her she was working too many 18-hour days. 

Eventually, Huffington sold her company to AOL for $315 million. You might think that's a huge number, and one worth chasing. But consider this: Huffington had to raise a lot of capital from outside investors to hire enough staff to get her company so big. By the time HuffPost sold, she only own 6.6% of the company — netting her $21 million on the sale. Simmons will make that much money in four years of gabbing on TV and writing long online at ESPN.

If Simmons were to strike out on his own, he would be lucky to do as well as TechCrunch founder Michael Arrington did building his company.

But boy did he pay for it.

In 2008, Arrington told The New York Times: "“I haven’t died yet." He said gained 30 pounds and developed a sleeping disorder in the first three years of TechCrunch's operation. 

“At some point, I’ll have a nervous breakdown and be admitted to the hospital, or something else will happen.”

In an Inc. article about how he works, Arrington said  for TechCrunch's first four years, "I'd work until I passed out, and wake up eight or nine hours later, which might be 4 p.m. or 3 a.m. Then I'd work again until I passed out."

"I missed a lot of social things. I didn't keep up with friends. I was a mess."

In 2010, Arrington sold TechCrunch to AOL for ~$30 million. Because Arrington didn't raise a lot of capital building TechCrunch — he bootstrapped it, so to speak — he ended up keeping something like $20 million of that money. Again: that's great money for most journalists, but Simmons can make that much at ESPN in a few years without giving up his Clippers season tickets.

There are so many other stories about how hard it is to build a digital media business. In December 2007, Om Malik of tech blog site GigaOm suffered a heart attack.

The New York Times wrote a profile about one of our executive editors, Joe Weisenthal, and revealed that Joe works 16-hour days starting at 4AM every day.

There are two final reasons why Ken Lerer is right, and that Simmons would be nuts to leave ESPN.

The first is that Simmons has designed his site, Grantland.com, around the idea that writers shouldn't have to worry about traffic. The result is that Grantland's traffic is tiny. It reached under 5 million people in August, according to ComScore. For comparison SB Nation had 13 million visitors that month. Deadspin had 25 million.

ESPN is perfectly happy with Simmon's tiny traffic because ESPN.com is already a traffic monster, and Simmons's personal brand makes the rest of ESPN good. ESPN is in traffic optimization mode, not traffic growth mode.

If Simmons were out on his own, he would have to be in traffic growth mode. His so-called "halo effect" wouldn't be nearly so valuable. He'd have to drive his staff to produce things lots and lots people want to read. Does he really want to do that?

The final reason Simmons should stay at ESPN: What would be the point of leaving?

If Simmons were to take investment from an outside partner, he would have to provide those partners liquidity at some point. Perhaps he would be able to do that by turning his new company into such a profit machine that he can actually buy his investors stock back. But that kind of thing almost never happens.

More likely, Simmons would provide liquidity to investors by selling his new company to a big media company.

The most likely buyer, of course, would be ESPN.

Then Simmons would be back to square one — except he would have lived through something like a massive weight gain, a heart attack, a sleeping disorder, or some kind of skull fracture like the one Arianna Huffington got.

And he'd be running a site that focused more on traffic, and less on quality.

So, sure, Simmons could go down that road. Or he could just keep collecting $5 million per year for writing columns. Probably, he'll get even more money than that in a year.

So…repeat after Ken, Bill.

"I had a breakdown, I didn’t mean what I said. I’m back at ESPN and I love it."

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