In a conversation with Jerry Seinfeld at the Vulture Festival on Saturday promoting the upcoming season of his web show "Comedians in Cars Getting Coffee," the comedian revealed that his greatest regret about his hit sitcom, "Seinfeld," was his decision to not following through with a certain lost episode.

"I had an episode all ready to go that we were going to do entirely, secretly, in claymation," Seinfeld said, to resounding gasps from the audience. "I had the studio ready, and the figures ready, and it was all good to go."

But Seinfeld was dissuaded from the idea when he learned that Tim Allen had already done a claymation episode on ABC's "Home Improvement." 

"I got scared off," Seinfeld said. "I thought, I don't want people to say I'm imitating Tim Allen. And I canceled it. I realize now that was a huge mistake. You know, we had Kramer taking a pencil and sticking it in his eye. And we were going to shoot fake promos, and everybody was going to think a regular episode was going to come on, and it was going to be all claymation. And so, that was a huge mistake. So yeah, that's what I regret."

Watch Seinfeld explain the story in his own words below:

The sixth season of Seinfeld's "Comedians in Cars Getting Coffee" will premiere on Wednesday at 11:30 p.m. with an episode featuring Julia Louis-Dreyfus. Guests for the rest of the season include Jim Carrey, Steve Harvey, Stephen Colbert, Bill Maher, and future "Daily Show" host Trevor Noah.

SEE ALSO: Here's the advice Louis C.K. and Mark Zuckerberg's top digital guy gave Seinfeld when developing 'Comedians in Cars'

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NOW WATCH: The star-studded trailer for the next season of 'Comedians in Cars Getting Coffee' shows off the best cars yet

Caitlyn Jenner's first four children support her decision to live life publicly as a woman, but they're refusing to be part of her coming reality show for E! Entertainment.

According to the Vanity Fair cover story, Caitlyn's four children (all in their 30s) born from Caitlyn's two marriages previous to Kris Jenner — Cassandra, Burt, Brandon, and Brody Jenner — will not appear on the show because they fear that E! and the show's producers, Bunim/Murray, will sensationalize Caitlyn's story.

"They disagree with their father's decision to use not only the same production company that made 'Keeping Up With the Kardashians' but many of the same people, including several original executive producers," the article said.

Hurt and disappointed by their decision, Caitlyn argued that as an executive producer she could keep it from straying away from her desire for the show to tell her story in a way that would be inspiring and informative. The four kids doubt that's possible.

"You go on E!'s website, the Bunim/Murray website, and you look at all the shows, every one of them is a circus," Brandon Jenner said during a meeting over hiring a new producer.

He continued: "With Bunim/Murray and E!, it's been the opposite of inspiration. Oh my God, we're diving into the lion's den — they're gonna make a show about the Jenners versus the Kardashians."

Certainly, bad blood does exist between the four children and Kris Jenner, according to the article.

They feel Kris not only excluded the Jenner side from "Keeping Up With the Kardashians," but further created distance between them and their father. They also had to watch as Caitlyn, then named Bruce, became an ideal dad to the Kardashian children, something they had always wanted from the often absentee dad they experienced growing up.

E!'s head of programming, Jeff Olde, told the magazine he hoped the Jenner side would change course upon seeing "the quality and tone" of the new reality show.

"It's not at all a Kardashian spinoff," he said. "We will not resort to spectacle. That doesn't mean we can't have fun with it."

Gay and married, Olde has been a gay-rights advocate for two decades. "This is so far beyond television, on a personal level," he insisted. "If I get one thing right in my professional career, it will be this."

Additionally, Bunim/Murray's executive vice president of development and programming insisted ratings were "not the goal." "It is to tell Bruce's story the way he wants to be told," he said.

The reality show started shooting in May and premieres Sunday, July 26, at 9 p.m. on E!

SEE ALSO: Here's why Caitlyn Jenner was not paid for the Vanity Fair cover

MORE: Caitlyn Jenner breaks Barack Obama Twitter record for fastest to one million followers

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NOW WATCH: Amy Schumer gives a brutally honest interview about her sex life

In April, we first introduced you to Rosie Mac, the beautiful 18-year-old stand-in for Emilia Clarke on HBO's "Game of Thrones."

When the model and actress doesn't have to be dressed like the Mother of Dragons, Mac is still lovely as a brunette.

Earlier this week, the gorgeous stand-in for Daenerys Targaryen posted new photos alongside fellow doubles from the show.

You may already recognize Ignacio Jimenez Blanco. He's the stand-in for Daenerys' lover Daario Naharis (Michiel Huisman) and has been getting a fair amount of press himself.

He's a model and actor from Spain and looks like this when he's out of his "GOT" garb:

 An HBO representative said she couldn't identify the other stand-ins in the photo. Nevertheless, here they are alongside the actors whom they stand in for.

It looks as if Dinklage has more than one stand-in.

Pretty good casting, huh?

SEE ALSO: Why everyone’s faith in this season of ‘Game of Thrones’ has been renewed in one chart

MORE: George R.R. Martin reveals which inconsistencies in 'Game of Thrones' are actually deliberate

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NOW WATCH: Here's what 'Game of Thrones' stars look like in real life

Amazon has wanted to become a major force in the video game scene for years. And now, it's hired a dream team of video game developers who are working on "an ambitious new PC game project using the latest technology," it says.

The company revealed this information in a series of recruiting ads on video game site Gamasutra. It's looking to hire more developers.

In the ad, Amazon says it has already nabbed folks who worked on such games as Portal, World of Warcraft,BioShock, Half Life 2, Left for Dead, Dota 2, Halo, Infamous, Shadows of Mordor and The Last of Us.

They are building new games that will use Amazon's cloud (Amazon Web Services), Twitch (the video site that broadcasts gameplay that Amazon bought in 2014 for $940 million) and "technical innovation to radically evolve gameplay," the ad says.

It sounds like a video game streaming service, with new games that lean heavily toward multi-player and possibly work on devices beyond Amazon's own Fire tablets, phone and TV.

Until now, the games coming out of Amazon Game Studios have been mostly mobile games, available on Amazon's own devices, with a few also on Android and iOS. Just last week, video game rental company GameFly launched a game streaming service using AWS but made it exclusively available for the Amazon Fire TV.

We don't know how ready Amazon is to talk about its plans, but the ads suggest it's willing to dish at least a little. So maybe we'll hear more about it at the E3 video game conference, which will take place later this month in Los Angeles.

SEE ALSO: This 20-year-old college dropout turned down Apple to launch a startup and is doing really well

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NOW WATCH: Here's what it's like to have a drink with President Obama

PLAYBACK Collective reimagined what "Mad Max: Fury Road" would look like if it came out in the 80's. Watch the hilariously reimagined trailer above. 

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Marvel's "Secret Wars" — the ambitious miniseries that ended the Marvel Universe as we know it— shouldn't be any good. In fact, the odds against it being any good are somewhere in the upper limits of "impossible."

Why's that? 

Well, "Secret Wars" is what's known as an "event comic." They're kind of like the summer blockbusters of superhero comic books. They can also be kind of a nightmare. To understand why, you need to know a little bit more about how they work.

"Event comics" are a frustrating quirk of the superhero comic book scene, a regularly scheduled disruption of your comic-reading life in which a heavily publicized miniseries that promises to "change everything" suddenly invades nearly every title you read from a given publisher whether you like it or not.

The ingredients are simple:

1. A miniseries. This is the big hook, the blockbuster story. They have names fraught with portent like "Civil War," "Final Crisis," and "Secret Invasion."
2. The tie-ins. These are where you might get frustrated if said miniseries isn't a story that excites you. The publisher (usually Marvel or DC) will then promote the tie-in by roping in a number of its popular series somehow, having the heroes of each book either dealing with the fallout of the miniseries or embarking on a tangential adventure that somehow relates to events going on in the miniseries. A lot of times, you have to buy the miniseries in order to understand why. That's kind of the point. 
3. The spinoffs. As that last bit indicated, almost the entire point of event comics is trying to convince readers to buy even more comics, and there's no better way to do that then launching new series. A lot of these are also miniseries created to further flesh out the main miniseries, trying to hook readers with the obsessive-compulsive itch to know "the whole story." 
4. New books. A lot of these events introduce some sort of status quo change to the Marvel Universe: A hero dies, a regime changes, a conspiracy is revealed — stuff like that. These events are often used as a springboard for more comics, this time in the form of a brand-new series that will carry on (hopefully) long after the event concludes. 

So, actually, they're not simple at all.

They're also not usually great — hamstrung out the gate with the ridiculous amount of objectives they need to accomplish, these stories end up obscuring their own narratives with muddy plotting and endless plate spinning, making it impossible to tell a satisfying, self-contained story. They are their own worst enemies, and some very good creators have done some of their worst work thanks to the demands of event comics.

But that doesn't mean great things can't happen during them. A lot of times, publishers will use these big events to take chances on new creators, assigning them a tie-in book. Sometimes, all those spinoffs and shake-ups result in genuinely exciting creative teams doing something different and innovative with an old character. Sometimes, event comics allow for more interesting stories — even if the actual event miniseries ends up being terrible. Not all the time. But sometimes. 

Mostly this is just a matter of logistics. Once you understand the utter scope of an event comic, you wonder how anyone can tell a good story under such constraints and editorial juggling, and why they keep happening. As Andrew Wheeler of Comics Alliance wrote:

Crossovers are tricky business. If they weren’t stories about superheroes, controlled by corporate masters and motivated by sales, they’d be hailed as avant-garde experimental works. Multiple interconnected narratives explored in separate streams and presented in different visual styles, overlapping, diverging, shifting as the angles change, with parts of the whole revealed in glimpses, in incidents, creating a work that should be comprehensible whether consumed in its entirety or only in part? That’s some advanced level Italo Calvino trickery right there. And it’s got Thor in it!

Taking all this into consideration, the deck is pretty stacked against "Secret Wars." But that's something true of most event comics, as we've just illustrated.  

Now we're one month into the story, with three issues in the main miniseries and at least a dozen tie-ins and spinoffs out in the wild — and this is crazy, but "Secret Wars" is really good. 

You might not know this from the first issue, which is a comic that echoes big cataclysmic disaster movies, but with a dour twist. The world ends, and the superheroes fail to stop it. The hows and whys are a bit murky and confusing, but ultimately it doesn't really matter, because what happens after the end is what we're here for, and it's fascinating. 

The second issue is where this becomes apparent. It's an introduction to Battleworld, the patchwork planet that is what remains of the Marvel Universe. It's a massive jigsaw puzzle of a world, comprised of self-contained domains themed after classic Marvel stories. Overseeing it all is an army of Thors who act as the police of Battleworld, serving the god-emperor that rules this strange world: The Fantastic Four's most notorious villain, Doctor Doom. 

It's been said that "Secret Wars" is  Marvel's nod to "Game of Thrones," which is kind of accurate but also not weird enough. This comic is weird, but in the best possible way. And we're only three issues into the series. 

Oh, and all that other ancillary tie-in stuff that usually comes with these event comics? The "Secret Wars" tie-ins are mostly pretty fun, too! There are reasons for this, like artists having the freedom to just cut loose and go to town. Consider Andrea Sorrentino's work in "Old Man Logan," a fantastic synthesis of color, mood, and panel arrangement.

Or "Amazing Spider-Man: Renew Your Vows," by Dan Slott and Adam Kubert which undoes one of Marvel's least popular story decisions: Erasing the marriage of Peter Parker and Mary-Jane Watson. "Vows" features Peter and MJ happily married, with a baby girl. It's not the first time Peter has been depicted as a parent, but it is a reminder of just how having him as a father lends itself to some great story possibilities.

Or Dennis Hopeless and Javer Garron's "Inferno,"which riffs on a landmark X-Men storyline of the same name for a comic that has a simple-yet-great premise: Every year, the X-Man Colossus leads a volunteer team of X-Men on a mission to a Manhattan overrun by demons in the hopes of saving his sister from their clutches. It's a thrilling action story where literally anyone can die, but also profoundly sad at its core. 

This is pretty remarkable and highly unusual, but one month in and it remains pretty true: "Secret Wars" has resulted in some great comics. 

Of course, this could all fall apart at any time — we do have all summer ahead of us — but so far, the comics have delivered. And even though the Marvel Hype Train for what its comics will look like after "Secret Wars" is already underway (and kind of intriguing), it's nice to not worry about what will happen and just enjoy what is happening. 

At the end of the day, it's probably fair to say that we'll never see anything quite so strange, ambitious, and fun in a very long time. 

SEE ALSO: Why DC's big revamp is worth checking out

AND: Marvel comics will look vastly different in the coming months

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NOW WATCH: Marvel's new 'Ant-Man' trailer looks even better than 'Guardians of the Galaxy'

Superhero comic books, like movies, have a blockbuster season, and we're right in the middle of the biggest one in years.

You may have heard plenty about Marvel's entry, "Secret Wars," which began in May and essentially ended the Marvel Universe as we know it. Less discussed has been DC's big event, "Convergence," a nine-issue series released through the months of April and May. There are a few reasons for that, but the biggest one is simple: It was pretty bad, with bland visuals and a story you could probably sleep through without missing much if someone read it to you out loud. 

DC also published a metric ton of two-part tie-in comics at the same time, some of which were pretty good! But the main, nine-issue "Convergence" miniseries? Ouch.

But now that it's over, I'm pretty excited for DC's upcoming comics, more excited than I have been for a long time—thanks to a number of really promisingpreviews and from the first wave of titles that launched June 3. You might be, too.

Here's why: 

Your favorite characters have all been remixed and it's great. 

Superman has been outed—Lois Lane has told the world that he's been masquerading as Clark Kent his entire life, and it couldn't have happened at a worse time. Locked out of the Fortress of Solitude, stripped of his costume, and less powerful than he's ever been, the Man of Steel is in a vulnerable place and may no longer have the adoration of the public. 

It doesn't stop there: Batman was killed off, and has been replaced by Commissioner Gordon in a mech suit. Green Lantern Hal Jordan is now the most wanted man in the universe, ditching his power ring to go on the run. Wonder Woman is about to discover a new nemesis in Darkseid's daughter. And White Lantern Kyle Rayner appears to have been murdered on a live broadcast by an obscure group known as The Omega Men.

DC is finally getting serious about its creators. 

While talent hasn't necessarily been lacking at the publisher—stellar creators like Francis Manapul, Brian Buccellato, Gail Simone, Scott Snyder, and Greg Capullo have had long runs on great books over the past few years—but the books they worked on often felt like exceptions to a rule and less like idiosyncratic entries in a library full of them. 

In the months leading up to "Convergence," DC seemed committed to reversing this, first with its much-publicized "Batgirl" revamp by Cameron Stewart, Brenden Fletcher, and Babs Tarr and then later with new books like "Gotham Academy" by Becky Cloonan, Brenden Fletcher, and Karl Kerschl.

Post-"Convergence," DC seems to be really doubling down on exciting talent, like putting "Boxers and Saints" cartoonist Gene Luen Yang on writing duties for "Superman" and David Walker, writer of the excellent "Shaft" comic, on a new "Cyborg" series. 

Lower profile characters get a chance to shine. 

There are two aspects to DC's big summer revamp: 21 new series that will slowly be rolled out over the next few weeks, and 25 continuing series returning from their two-month hiatus (that's where most of the aforementioned revamping will be happening). 

Some of these new series are legitimately fun and exciting—like "Prez," a book about a teen girl who becomes president of the United States via the country's first Twitter vote, or "Section Eight," a miniseries following the eponymous terrible superteam from the pages of the cult classic "Hitman" by Garth Ennis and John McCrea (who are also behind the miniseries).

Oh, and do you like The CW's "Arrow" or  Marvel's "Hawkeye?" Then you might want to check out DC's new "Black Canary" series, with art by Annie Wu (whose work you might recognize from the Kate Bishop arc on "Hawkeye") and a story by Brenden Fletcher that recasts its hero as the frontwoman for a hot new rock band. It should be pretty great. 

Superhero comics are a notoriously fickle genre, where sharp spikes and jarring dips in quality can happen at a moments notice due to lots of churn behind the scenes and the occasional sweeping editorial mandate. It's one of the reasons why following writers and artists you like instead of characters and companies makes a lot of sense if you decide to get serious about diving into comics. 

It's been really easy to rag on DC in recent memory for its long line of poorly-received attempts to revamp its comic book characters and keep them fresh and exciting. "Convergence" was just the latest example, but there are many from the past decade, going back from the rocky launch of The New 52 in 2011 to the mid-aughts misery of "Countdown." Even this new, exciting wave of comics is couched in some pretty embarrassing branding: they're calling it "DC You."

As terrible or tone-deaf as its marketing efforts and initiatives may seem, DC Entertainment does seem newly committed to making it easier for great comics to happen in the only way that works: by letting a diverse set of talented people make the books they want to make. In abandoning the iron grip it had over its various properties and demonstrating a willingness to play fast and loose, the company might finally have a chance at taking part in a conversation that has been overwhelmingly dominated by its chief competitor, Marvel. 

Besides, that mech suit Batman story looks like all kinds of fun.

SEE ALSO: This new comic series is the "Star Wars" meets "Game of Thrones" mashup you didn't know you wanted

AND: One of the oldest comics genres could be making a big comeback

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NOW WATCH: Here's how Floyd Mayweather spends his millions

Disaster movies in which entire cities are leveled by the fury of nature have become a tradition in Hollywood. The latest of these, "San Andreas," was released Friday and topped the box office with a solid $54.6 million opening weekend.

To create the sensation of California's destruction, "San Andreas" had to employ a lot of special effects. It's impossible to understand just how heavy the CGI is in a movie like "San Andreas" until you watch it before the effects were put in place.

Luckily, a behind-the-scenes video captures some of the movie's key scenes without the help of special-effects wizardry.

Some of the clips may make you chuckle a bit, especially at the site of people running and jumping from absolutely nothing. But it will also make you appreciate just how much summer's biggest blockbusters are a result of computer effects and editing.

Here's a shot of star Alexandra Daddario getting knocked down by the sheer force of nature's fury:

It's a lot funnier to watch acted out without a real quake:

In a scene in which people are running through the streets from a sinister dust cloud ...

They're not running from much of anything.

Instead, many people are strapped to wires, flying through the air. It looks pretty crazy.

Here's a view of the same people from a different angle.

At one point, Dwayne "The Rock" Johnson gets out of his truck and sees that the road in front of him has been split:

When looking at it through one of the monitors, however, the impact of the earthquake is much less terrifying with the added blue screen.

In a big action sequence, Johnson's character helps pulls his wife into a helicopter:

This moment loses most of its terror once you see she wasn't as far off the ground.

Not everything was done with CGI though.

In one scene, Johnson takes his rescue mission underwater.

Johnson was actually holding his breath and swimming beneath the surface.

Check out the full video below:

SEE ALSO: The Velociraptors in the 'Jurassic Park' movies are nothing like their real-life counterparts

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NOW WATCH: The Rock wrestles an earthquake in this awesome trailer for 'San Andreas'

If you head out to see "Entourage" this weekend, you'll most likely have an enjoyable time.

Despite the harsh critiques the film adaptation of the popular HBO series is receiving, the film basically plays out like an extended episode of the HBO series. It's crass; it's funny, and it's filled with plenty of star power from a number of celebrity cameos to keep you looking for more.

Whether or not you end up agreeing with the critics, one thing's certain — the film will shatter your childhood image of Haley Joel Osment forever.

You know, this Haley Joel Osment — the kid best known for uttering the words, "I see dead people" in 1999's "The Sixth Sense."

This was the role for which Osment became known as one of the cutest child stars of the early 2000s.

He later appeared in "Pay It Forward," where he played a middle-school student who creates a good-deeds community program. We saw him again in "A.I. Artificial Intelligence," where he played an android who could love, and "Secondhand Lions," as an introverted teen living on a farm, before the actor disappeared from the Hollywood scene.

If you haven't seen him recently, you may be wondering what he's been up to in the 12 or so years since then. 

He started voicing a character in sequels of the popular video game "Kingdom Hearts" before reemerging into the acting scene. He did a voiceover on Seth MacFarlane's "American Dad!" and in 2014 appeared on TV miniseries "The Spoils of Babylon" and Amazon's "Alpha House." 

If you weren't aware of Osment's role in the "Entourage" film, it's a big shock to see him on screen, and in such a large role. 

However, it's even more disorienting once you learn his role is a far cry from anything he played as a child.

Osment plays Travis McCredle, a spoiled, foul-mouthed redneck millionaire Texan.

There's a scene of Osment in a hotel room with two women and it will definitely ruin your image of the little boy from M. Night Shyamalan's 1999 hit.

McCredle is quite the obnoxious, egotistical monster to the Entourage boys, and Osment plays the character to a tee.

I don't remember the last time I've hated a character on screen so much. 

However, that's how you know he's good.

Osment was a good actor 15 years ago — he was nominated for an Oscar for his role in "The Sixth Sense"— and he's grown into a fine one today. 

He has a few more projects coming up this year including a film with Richard Armitage, "Sleepwalker," and "Me and Her," which has been described as a "sexual-identity comedy."

Here's to seeing more of him!

SEE ALSO: Here are all the celebrity cameos in the "Entourage" movie

AND: Our review of "Entourage"

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NOW WATCH: Warren Buffett is in the new trailer for the 'Entourage' movie

Princess Charlotte Elizabeth Diana made her debut on May 2, 2015, but after those first photos of the baby girl leaving the hospital with her proud parents were shown off to the public, we've been unable to get a glimpse of the royal couple's second child.

Until now!

The first photos of Princess Charlotte (in the arms of her big brother, Prince George) were released today — two of them uploaded to the Kensington Royal Instagram — the official Instagram account for Will and Kate and their growing family.

Here are those photos:

And another:

These photos were taken by the Duchess herself. Several other photos were shared as well, showing a very affectionate and cheesy Prince George. 

The Princess seems non-plussed throughout her first official photoshoot.

And — bonus! — the Kensington Royal Instagram account also gave us a glimpse into the many well-wishes and letters the family received following the birth of the little Princess:

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NOW WATCH: We took a GoPro on the tallest drop ride in the world and it was terrifying

In 1980, Suzanne Somers was at the height of her career, winning accolades and the public's admiration for playing blonde bimbo "Chrissy Snow" on ABC's hit Emmy-winning comedy "Three's Company" alongside John Ritter and Joyce DeWitt.

In 1978, just a year after the show premiered, Somers won a People's Choice Award for "favorite female performer."

In 1979, the role earned her a Golden Globe nomination for best TV actress in a comedy.

Somers became a household name, making countless TV appearances.

She attended press events with her "Three's Company" cast mates...

... And became an international sex symbol.

But in 1980, at age 34, Somers' career came to a screeching halt when she asked ABC for a salary raise on par with what fellow cast member John Ritter was making.

"When it came time for fifth-season negotiations in 1980, Somers asked for a pay hike from $30,000 an episode to $150,000," according to The Hollywood Reporter, noting the salary increase would be "equal to what her Three's Company co-star John Ritter was receiving and comparable to salaries M*A*S*H*'s Alan Alda and All in the Family's Carroll O'Connor were being paid on lower-rated shows."

Instead, ABC offered Somers a measly $5,000 salary increase.

As a result, Somers boycotted the third and fourth shows of the new season, using excuses such as "the recurrence of an old back injury," THR reported at the time. She finished the remaining season on her contract with ABC, but her role was decreased to a mere 60 seconds per episode and shot separately from the rest of the cast.

Eventually, Somers' contract with ABC was terminated. The network that had made the actress a household name fired one of its biggest stars — and it was apparently all to make a point.

Somers' husband and manager, Alan Hamel, recently recalled to THR:

The night before we went in to renegotiate, I got a call from a friend who had connections high up at ABC and he said, 'They're going to hang a nun in the marketplace and the nun is Suzanne.' The network was will­ing to do this because earlier that year the women on Laverne & Shirley had gotten what they asked for and they wanted to put a stop to it. They'd destroy the chemistry on Company to make a point.

Later that season, Somer's "Chrissy Snow" character was replaced by her clumsy cousin Cindy Snow, played by Jenilee Harrison.

In 1981, ABC added another replacement the following season, Priscilla Barnes, to make up for the loss of Somers.

The show would go on until 1984, but meanwhile Somers' career came to a halt.

After rival network CBS picked up Somers to star in a new show following the "Three's Company" disaster, the network eventually wound up passing on the show.

In order to stay relevant, Somers posed on the cover of Playboy in 1980 and 1984.  

During the 1980s, Somers became the spokeswoman for the Thighmaster.

In 1991, Somers returned to ABC to play mom "Carol Foster" in "Step By Step," a family sitcom on the network's popular TGIF lineup.

After the show ended in 1998, Somers would go on to sell clothing, jewelry, skin-care, toxic-free cleaning supplies, weight loss, and beauty products on the Home Shopping Network and her own website.

She has also written over 20 books, including autobiographies, poetry, and many about aging and how to stay "Sexy Forever."  Despite controversy surrounding her use of alternative medicine after being diagnosed with breast cancer in 2001, Somers has continued to build a massive empire as an actress, author, and businesswoman.

In 2003, Somers received a star on the Hollywood Walk of Fame.

Today, Somers can currently be seen in the live show "Suzanne Sizzles" in a year-long residency presented in her own cabaret room in the Westgate Las Vegas Resort & Casino. 

When not in Las Vegas for the show, Somers resides in Palm Springs with her husband and manager of 38 years, Alan Hamel. 

"Life isn't fair," Somers recently told The Hollywood Reporter when recalling the "Three's Company" situation in 1980. "Getting fired for asking for a raise wasn't fair, but I landed on my feet and I've done OK."

Today, Somers is worth a reported $100 million, due mainly in part to her successful product lines.

Somers' story is especially relevant right now after the Sony hack revealed just how much less women make in Hollywood still to this day — both female studio execs behind-the-scenes and actresses in front of the camera.

SEE ALSO: THE INCREDIBLE EVOLUTION OF KRIS JENNER: From stay-at-home mom to megamillionaire manager

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NOW WATCH: 'The Little Prince' trailer looks better than anything Pixar has made in years

With the "Entourage" movie opening in theaters everywhere today, we're looking back on the 11 years since the show premiered in 2004.

Since the show ended its eight season run in 2011, the actors and actresses who made up the main cast have gone on to star in numerous television and movie roles — but none have managed to top their "Entourage" fame just yet.

See what Vinnie, Eric, Drama, Turtle, and Ari, the rest of the crew have been up to since the show ended.

THEN: Adrian Grenier played the young Hollywood movie star Vincent "Vinnie" Chase.

NOW: Grenier starred in the 2013 apocalyptic dramedy "Goodbye World" and became an environmental activist.

In March, Grenier's Kickstarter to fund a search for the "loneliest whale in the world" was saved at the last minute by a $50,000 donation from actor and fellow activist Leonardo DiCaprio.

Grenier and filmmaker Josh Zeman will use the proceeds from the fundraiser to film a team of scientists as they search for the lonely whale — called "52 Hertz" for the high frequency of its mating song that no other whale speaks.

THEN: Kevin Connolly starred in all 96 episodes of "Entourage" as Eric "E" Murphy.

This weekend marks the 71st anniversary of the Allies' D-Day landing at Normandy, France, which ultimately led to the liberation of France from Nazi control.

But what if the Allies had never launched their seaborne invasion, leaving Europe in the hands of Hitler and Nazi Germany?

Amazon Studios provides the answer with "The Man In The High Castle," a new original series that was recently greenlit by Amazon for a full season after becoming the most watched show since Amazon's original-series development program began. The show is smart, fun, and polished, and it sports a five-star user rating.

Produced by Ridley Scott, the show is based on a 1962 Philip K. Dick novel about a world in which the Nazis and the Japanese won World War II. Of all of Dick's classics, it was the only one to win science fiction's preeminent Hugo Award. Scott, who directed another Dick adaptation in "Blade Runner," started developing in 2010 what would surprisingly be the book's first screen adaptation.

It takes place in 1962 in a conquered America that has been divided into the Greater Nazi Reich, from the Atlantic to the Rockies, and the Japanese Pacific States, on the Pacific Coast.

The opening scene shows a propaganda film about life in America, which chillingly demonstrates how Americans might come to accept Nazi overlords.

"It's a new day," the narrator says. "The sun rises in the east. Across our land men and women go to work in factories and farms providing for their families. Everyone has a job. Everyone knows the part they play keeping our country strong and safe. So today we give thanks to our brave leaders, knowing we are stronger and prouder and better."

Only the end of the film explicitly references the Nazi takeover:

"Yes, it's a new day in our proud land, but our greatest days may lie ahead. Sieg heil!"

 Here's a look at Nazi Times Square: 

Here's Japanese San Francisco:

As the propaganda film suggests, aspects of life in Nazi/Japanese America are not bad, even as the overlords brutally repress all resistance. The winners of the war — particularly the Germans, who in the show's alternate history developed the first atomic bomb — are living in a technological and economic boom as great as anything America saw in the real postwar era.

Given this rosy portrayal, it's all the more shocking when there's a reminder of how inhuman the Axis powers could be. In one scene, a volunteer for the resistance is driving through the middle of the country for the first time. He is talking with a Nazi police officer, who helped him change a flat tire, when ashes began falling like snow.

"Oh, it's the hospital," the cop says. "Tuesdays, they burn cripples, the terminally ill — drag on the state."

Amazon Studios is putting out some of the best new TV. There's "Transparent," starring Jeffrey Tambor as a father who comes out as transgender, which won the Golden Globe for best TV series, musical, or comedy. I haven't watched that one yet, but I can personally recommend the underrated "Alpha House," a political comedy by Garry Trudeau, and the fantastic new "Mozart In The Jungle," a comedy based on a book about "sex, drugs, and classical music" in New York City.

NOW WATCH: This 20,000-Calorie Burger Is The Craziest Thing We've Ever Eaten

SEE ALSO: Netflix Is Also Kicking Ass When It Comes To Original Content

DON'T MISS: Here's The Weather Prediction That Won WWII

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Producer/director Bill Pohlad admits he was not a big Beach Boys fan growing up in Minnesota. The legendary “California sound” of the band didn’t have the same pull for him as the Beatles.

But then ten years ago he got hooked on the Boys’ seminal album, “Pet Sounds.”

“It was very spontaneous,” he tells Business Insider. “There was no reason for it that I understood at the time. It just happened. I really fully appreciated that album and everything Brian was doing with it.”

The Brian he’s referring to is Brian Wilson, co-founder of the Beach Boys, along with his brothers Dennis and Carl, their cousin Mike Love, and their friend Al Jardine. Brian wrote most of their songs and thanks to his innovative production of "Pet Sounds," which included songs “Wouldn’t It Be Nice” and “God Only Knows,” the album is now regarded by many as being one of the greatest of all time.

Pohlad, an independent film producer whose titles include “Into the Wild,” “12 Years a Slave,” and “Wild,” says he’s a big believer in “things happening the way they are supposed to happen.” So when a script on Wilson’s life titled “Heroes and Villains” (the title of a Beach Boys song) was sent to him to produce a few years ago, he couldn’t help but see the signs of being handed the life story of an artist he had recently grew very fascinated by.

According to Pohlad, “Heroes and Villains,” which would later be changed to its current title, “Love & Mercy” (the title of a Wilson solo song), was a very basic, by the book biopic of Wilson’s life. But Pohlad felt to best tell the story that the script had to be more intimate. It had to escape from the grasp most stories on famous people are under of feeling required to highlight the person’s major life moments to appease the super fans.

To tell the story of Brian Wilson it would have to be done with multiple actors.

“Love & Mercy” looks at two key moments in Brian Wilson’s life. One, the musician at age 22 (played by Paul Dano) in the mid 1960s when he stopped performing live with the Beach Boys and went into the studio to begin recording “Pet Sounds.” And second as Wilson at middle age (John Cusack) in the 1980s suffering from mental illness and isolated from his family and friends while under the care of Dr. Eugene Landy (Paul Giamatti).

Enlisting the help of screenwriter Oren Moverman— who knows something about making unconventional biopics as he also wrote the screenplay for Todd Haynes’ “I’m Not There,” in which six actors play Bob Dylan personas — he and Pohlad created a story that gives us both the genius and madness of Brian Wilson.

“It was really clear that we had to separate those two times,” said Moverman. “It was really Bill driving the conversation in talking about the differences of Brian in the ’60s, ’70s, and ’80s.”

In fact, Pohlad got so engrossed in the story, including spending time with Wilson (who would come on the film as a consultant), that following some convincing by Moverman Pohlad agreed to direct “Love & Mercy.” His first directing effort in over 20 years.

“It just felt natural,” said Pohlad matter-of-factly about getting back in the director’s chair. “In the process of working with Oren, at some point I just start running with it.”

And what he delivers is an intimate portrait of Wilson that brings out the nostalgia for Beach Boys fans but mainly delivers the private terror Wilson endured for decades.

In the young Wilson years, which Pohlad referred to as “Brian Past,” we see his creative mind at its zenith as he painstakingly creates the lyrics and sounds for the “Pet Sounds” album (as well as the stand-alone single “Good Vibrations”). This included creating arrangements that puzzled the session musicians that included at times bicycle bells, Coke cans, and even barking dogs. But all the while Wilson was beginning to mentally break down.

“As I got to know Brian a little I got to understand more about how his mind works,” Pohlad told BI. “He has hallucinations but they are not visual hallucinations, they are auditory. That really intrigued me. That he hears really complex arrangements and harmonies and melodies that nobody understands and don’t think would work until he executes them and they are amazing. That’s part of his genius, but he can’t turn it off.”

To express this in the film Pohlad didn’t want to do the typical camera tricks to visually express hallucinations, instead he used the film’s sound mix to explain Wilson’s pain.

In one scene, Wilson is at the dinner table with friends. Everything seems fine until we hear the clanging of the silverware build louder and louder. The audience (and Dano playing Wilson) are the only ones who hear the sounds as they get to the point where it drowns out the dinner conversation.

“I thought immediately of The Beatles’ ‘Revolution 9,’” said Pohlad referring to the sound collage track from “The White Album.” “It kind of inspired me.”

When we move to Wilson in the ’80s (“Brian Future”), we find him at the lowest point in his life. Over medicated and his mental problems diagnosed incorrectly, he had just come off a few years staying in bed following the death of his father. Dr. Landy, handlers, and security guards are the only people in his life until he meets car salesman Melinda Ledbetter (Elizabeth Banks), and the two begin a relationship.

Looking back on the research for the film, Pohlad believes meeting Ledbetter (who is now married to Wilson), was what sealed the structure of the movie.

“Having her tell how she and Brian first met, for me that really sparked it,” he said. “I knew the ‘Pet Sounds’ era I wanted to address, but how they met was a great way to get into that part of his life. To see that part of Brian’s life through Melinda’s point of view versus Brian’s point of view in Brian Past.”

Pohlad said that Cusack spent a lot of time with Wilson but that Dano didn’t. Instead, the actor retaught himself how to play the piano and listened to a lot of the “Pet Sounds” session outtakes to hear how Wilson worked in the studio.

Cusack and Dano also didn’t talk about the character they both were playing.

“I didn’t want to say, ‘Here’s the plan and we’re going to do it like this,’” said Pohlad about working with his leads. “They both found their own way. I didn’t encourage them to meet. I felt it would be more authentic for them as actors and more exciting creatively that they didn’t.”

Wilson has seen “Love & Mercy” multiple times, and according to Pohlad, he loves it. Audiences have too. It received positive reviews following its premiere at last year’s Toronto International Film Festival. There was even talk of possible award consideration for Dano and Cusack. But it was decided to not go into last year’s award season race and instead give the film a summer release this year as counter-programming to the major studio blockbusters.

It’s a gamble when it comes to award consideration, but as Pohlad sees it, things happened the way they are supposed to happen.

 “Love & Mercy” opens in theaters Friday.

SEE ALSO: This movie starring Jackie Chan, Adrien Brody, and John Cusack is huge in China right now

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When Jerry Seinfeld came up with the idea for “Comedians in Cars Getting Coffee” — his unconventional internet talk show that will premiere its sixth season Wednesday on Crackle — he initially had trouble finding the right format and backers for the program.

In an interview during The Vulture Festival on Saturday, Seinfeld explained how he first went to comedian Louis C.K. for advice on how to release the show.

“I remember when I told the idea to Louis C.K., and I said, ‘I have this idea where I’ll hang out with comedians, and I’ll shoot it, and I’ll cut it together with music and coffee.’ And I asked, ‘What do I do with that?’”

Louis C.K., who broke new ground in the industry by releasing his comedy specials for $5 on his website, suggested that Seinfeld follow a similar payment format.

“He said, ‘You should charge people a dollar to watch.’ And I didn’t like that idea. Nobody knew what to do.”

Seinfeld then went to the offices of Facebook and YouTube and consulted with the Creative Artists Agency (CAA), but no one saw the show as a viable possibility at the time.

“I had this big meeting at CAA with these really smart digital people. It was like ten people in the room, people I had read about, never met: ‘This is the guy who meets with Zuckerberg every day. He’s way out there.’

And I said, ‘I have this idea, and it seems like as a person that people know, and I have an audience, people know me, so we can get people to check it out. And the internet seems like a pretty fluid medium… What do you think I could do?’ And they went, ‘I don’t know.’ No idea.”

The issue that most developers had with the show was its extended run time.

“They said, ‘If you’re over five minutes, nobody’s going to hang in there.’ Because the internet — five minutes is the maximum length of time. And we average nineteen minutes a viewer.”

After being rejected from sponsorship by Starbucks, "Comedians in Cars Getting Coffee" eventually came together with the backing of car company Acura in a deal that allowed Seinfeld to write the featured ads himself. 

And Louis C.K. even ended up being a guest on "Comedians" in January 2014.

The show's sixth season will premiere on Wednesday at 11:30 p.m. on Crackle with an episode featuring Julia Louis-Dreyfus.

Guests for the rest of the season will include Jim Carrey, Steve Harvey, Stephen Colbert, Bill Maher, and future "Daily Show" host, Trevor Noah.

SEE ALSO: Seinfeld's 'Comedians in Cars Getting Coffee' is back with Louis C.K. and the silliest Fiat ever

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NOW WATCH: The star-studded trailer for the next season of 'Comedians in Cars Getting Coffee' shows off the best cars yet

Peggy Olson was a fan favorite on “Mad Men” for many reasons, so it was no surprise when the internet went nuts over Peggy’s strut into the offices of McCann Erickson at the end of the “Lost Horizon” episode. 

But at an appearance on “Late Night with Seth Meyers” on Thursday night, Elisabeth Moss, who played Olson, said shooting this now famous scene was not fun to do.

“It was not cool at all," she told Meyers.

"I was holding this box, and everything on ‘Mad Men' is super real so they made the box really heavy. I was like, ‘I can act that,’ but no.”

“The painting was kind of awkward and kind of large [to carry] and they wanted me to hold it [a certain way] so you can see it in certain shots.”

“And the cigarette is actually really difficult to do. James Dean makes it look super cool and easy but it's actually really hard to hold a cigarette in your mouth and walk.”

“So I was trying to look cool, trying to not drop the painting, trying to not bump into the walls.”

But there was something fun Moss got out of the experience. She chose the on-set music to walk to.

“I was like ‘Stayin' Alive,’ obviously," she told Meyers, referring to the Bee Gees song. “I'm walking down a hallway, what else would I be listening to?”

Watch Moss' interview with Seth Meyers below.

SEE ALSO: Here's what Jon Hamm thinks happens to his Don Draper character after the "Mad Men" finale

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Steven Spielberg has a habit of building up a lot of suspense to his monsters and creatures before actually showing them.

In "Jaws," the shark doesn't pop his head out of the water until the film's third act. The aliens of "Close Encounters of the Third Kind" don't appear until the film's final moments. 

Spielberg used the same trick for the T. rex in "Jurassic Park," to terrifying effect. Before making its first appearance, the giant dinosaur is heard through roars and grunts and, most memorably, a plastic cup of water, which vibrates as the predator stomps along and draws near:

The ingenious shot came to Spielberg while listening to an Earth, Wind, and Fire song with the bass "turned up full volume" in his car. The identity of the song remains unknown.

A behind-the-scenes featurette from Universal, which can be found on the "Jurassic Park" Blu-ray, shows some of the original storyboards for the iconic shot:

"I was at work and Steven calls into the office and he goes, 'I'm in the car. Earth, Wind, and Fire is playing, and my mirror is shaking! That's what we need to do!'" Dinosaur effects supervisor Michael Lantieri said in a making-of featurette on the "Jurassic Park" Blu-ray. "He goes, 'We need to shake the mirror, and then I wanna do something with the water.'"

It took a lot of work to make Spielberg's vision come to life. 

"The mirror shaking was easy ... put a little vibrating motor in and shook it." Lantieri said. "But the water was another story. It was a very difficult thing to do. You couldn't do it. " 

So Lantieri gathered everybody he could find to try to figure out how to make that water shake. 

Interestingly enough, it was music that first inspired this shot and music that eventually brought it to life. Lantieri decided to experiment with his guitar.

"I set a glass and started playing notes on a guitar and got to a right frequency ... a right note ... and it did exactly what I wanted it to do." Lantieri said.

To replicate that for the shot, they "fed a guitar string through the car, down to the ground, and then I had a guy lay under the car and pluck the guitar string," Lantieri said in an interview from an early "Jurassic Park" DVD.

"One of the things that Steven is so good at is finding images that represent the story, the emotion, that the audience is supposed to be experiencing," cinematographer Dean Cundey said in the same behind-the-scenes video.

But to find that right image, you might need to hear a good tune first.

Watch the behind-the-scenes clip below via Universal:

SEE ALSO: The velociraptors in the 'Jurassic Park' movies are nothing like their real-life counterparts

AND: THEN & NOW: The cast of 'Jurassic Park' 22 years later

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NOW WATCH: The new 'Jurassic World' trailer shows why it took $190 million to make this summer blockbuster

"Minecraft" is this generation's Super Mario. It's an international phenomenon. Unless you've been living on the moon, you probably already know these things.

It's on computers, phones, tablets, and game consoles. It's at your local mall, occupying kiosks with plushies and T-shirts. There's a semiannual convention ("MineCon") and an education initiative that's got it in schools (MinecraftEDU).

But why is it so popular? We're talking about a game that looks like this:

Keep in mind that there are games coming out on modern video game consoles that look like this:

And what do you actually do in "Minecraft?" Build stuff? Perhaps you've seen some of the incredible worlds people have created from within "Minecraft," like this one of King's Landing from "Game of Thrones":

Not bad! So how does a world go from a flat, grassy meadow to a pixelated re-creation of Westeros' capital city? The answer to that question is half of the reason people love "Minecraft": creation. The castles above were built block-by-block.

Think of "Minecraft" as virtual LEGO. LEGO does.

It's a system for fitting pieces together to create something — sometimes amazing somethings — from nothing. "Minecraft" provides endless building blocks and a blank canvas. It's up to you to create something incredible, or silly, or referential, or whatever, using the tools it provides. The tools are blessedly user-friendly, as are the systems for employing those tools.

The most basic unit of measurement is a single block. This is a dirt block:

This is the literal and figurative building block of the game. You start with nothing but fists and a massive, unexplored world, ripe for creation. You walk forward; you punch the ground below you and it begins to crack. Why is it cracking? And suddenly, POP! Where the ground once was is now an empty, square space. It looks like this:

The word "minecraft" is a portmanteau of two verbs: to mine and to craft. Punching a dirt block and retrieving a dirt block to build with is the first verb — the mining. When you start "Minecraft," it's the first thing you should do.

Once you've retrieved enough blocks, the second thing you'll need to do is craft: combine the resources you've mined to create more complex tools. "Mining" for wood (punching a tree) enables you to create basic tools. Those basic tools enable you to mine more complex resources, which enable you to create more complex items and tools.

It's this highly satisfying cycle of mining resources and creating from those resources that draws in millions of players around the world. And that's the most basic level of "Minecraft."

The other side of "Minecraft," sadly not encompassed in the game's title, is exploration. Every time you start a new world in "Minecraft," it's unique. That is, levels are randomly generated based on a set of parameters. There are some constants:

• The levels always contain the same materials (dirt, trees, water, etc.)
• There is a day/night cycle
• At night, enemies appear and will attack you
• You can only dig so deep below the world's surface before hitting bedrock

• The world that spawns always has stuff to discover, whether it's crazy jungles or mountains or underground caves or whatever

Yes, there are enemies. You've almost certainly seen the iconic "Creeper" at your local Hot Topic. This guy (or lady?):

These green, exploding monsters are exclusive to the "Survival" mode of "Minecraft" — if you just want to create ad infinitum, there's a "Creation" mode that enables exactly that. No day/night cycle. No enemies. No mining, if you don't want to mine. Just endless creation. 

But be warned: If you don't choose "Survival" mode, you'll never experience the joy of discovering a labyrinthine cave network by accident, full of rare resources (diamonds!) and life-threatening lava. You'll never know the thrill of narrowly escaping a mob of spiders, zombies, and Creepers into the ramshackle hut you've composed just in time to hide for the night. You'll never know the heartbreak of a Creeper sneaking up and exploding the side of your carefully constructed homage to John Travolta's face. Up your nose with a rubber hose, Creeper.

So forget all the hype. Forget the billions Microsoft spent buying "Minecraft" from its creator, Markus "Notch" Persson and his team at Mojang.

"Minecraft" is so incredibly successful and popular because it's delightful. It's relaxing. It's joyful. It's goofy. It's an amazing interactive canvas to build anything you want.

Yeah, you're "just punching blocks and placing them in different combinations." And here's a re-creation of Frank Lloyd Wright's famous "Fallingwater" home:

You can play "Minecraft" online with friends, with strangers, or all by your lonesome. Some of the more complex worlds were created by whole teams of people working for months. Westeros wasn't built in a day, you know!

Personally, I prefer the relaxing experience of playing it alone while listening to podcasts. The game's music is a mix of soft, atmospheric melodies that can be easily kept at low volume, leaving me to concentrate on the project at hand. 

Unlike so many other games, "Minecraft" enables an outlet for artistic expression — however shallow — that makes time spent in its worlds feel meaningful.

SEE ALSO: Microsoft is buying the company behind "Minecraft" for $2.5 billion

AND: LEGO created its own 'Minecraft' and you can play it right now

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NOW WATCH: Here's Video Of That Bonkers $70 Million Mansion That The Minecraft Creator Bought, Outbidding Jay Z And Beyoncé

Advertising to millennials is a difficult gig. They skip, block, or outright ignore ads on TV, the web, and YouTube.

It’s an especially difficult job for a YouTube network like Machinima, whose revenue depends on developing and planning effective ad campaigns for the platform.

“Brands desperately want to talk to these kids that can smell bull**** a mile away,” Jamie Weissenborn, Machinima’s Chief Revenue Officer, told Business Insider. “Brands know disruptive advertising isn’t the way to do it any more.”

To create “meaningful and engaging” advertising, Weissenborn says Machinima has been developing new strategies, chief of which is partnering YouTube stars with particular brands and allowing the stars to develop a video around the brand independently.

"We work with brands to find a way to use our network and our creative capabilities to deliver something that is right for their audience," Weissenborn said. "If you put something out to this audience that isn’t authentic, they can sniff it. They won’t watch."

These videos tend to incorporate brands and their messaging without sacrificing a YouTuber’s creative control or voice. It could mean a parody video that makes fun of the brand or even a music video that incorporates it. The videos are transparent about their purpose, while also entertaining viewers. The authenticity and the quality of the video keep advertising-averse millennials watching.

A prime example is a partnership that Machinima engineered between General Mills’ Lucky Charms and YouTube musician and remix artist MelodySheep. For the video, Lucky Charms gave MelodySheep access to all of its old commercial archives, which he then remixed into a fantastic music video that got more than 1.6 million views.

“It’s become one of the five or six case studies we show brands what can come from partnering with us,” Weissenborn said. “We tell them, ‘Come to us and we’ll build something and it won’t be what you expect.’ Advertisers respond to that.”

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NOW WATCH: 5 subliminal sex messages hidden in ads for wholesome brands

20th Century Fox has released the first trailer for its anticipated fall film “The Martian,” and it looks great.

Based on the best-selling book from Andy Weir of the same name, the story follows astronaut Mark Watney (Damon) as he’s left behind on Mars after a storm forces the rest of his crew to head home. 

Thought dead, Watney has to find a way to let NASA know he’s alive to bring him back home before his supplies run out. Once he does, he has to hope they can reach him before its too late. 

Also starring Kate Mara, Jessica Chastain, Kristen Wiig, and Jeff Daniels, "The Martian" is in theaters November 2015.

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