During the summer of 1971, 24 volunteers living near Stanford University were interviewed, selected, and arrested.

They'd all responded to a simple newspaper ad calling for male college students whom, it said, would get $15 a day to participate in a "psychological study of prison life" that summer.

At the fake prison built for the study, the volunteers were randomly divided into fake prisoners and fake guards.

Designed to last two weeks, the experiment was cut short after just six days.

In other words, it went horribly wrong.

The disturbing scenario that unfolded has been made into a new film, "The Stanford Prison Experiment," which comes out Friday, July 17.

The experiment

The Stanford Prison Experiment is based on a study designed and led by Stanford psychology professor Philip G. Zimbardo. For years after it came out, psychology professors used the study as a reference to show how people are naturally inclined to abuse power — or in other words, how ordinary people can become monsters.

Just 48 hours after the experiment began, the fake guards began abusing their power, screaming at the fake prisoners and even beating them.

Shortly afterwards, two "prisoners" appeared to have psychotic breakdowns and asked to be released.

As more information about the study came out, however, some of its claims were questioned. There's evidence, for example, that Zimbardo told the volunteers how to act and thus directly influenced the study outcomes — a big no-no as far as social-science research is concerned.

Now, the experiment itself is pretty controversial; some psychology professors even refuse to include it in their textbooks.

Several things went wrong. Here's what happened:

The guards went rogue

After seeing the film, I watched some footage of the real experiment. The two are shockingly similar.

There's one particularly disturbing instance where a guard commands a prisoner to walk "like Frankenstein" and profess his love for another prisoner. It happened almost exactly as it's portrayed in the film.

Another disturbing detail that the film gets right is the guard they begin calling "John Wayne."

In the experiment, one of the volunteers who gets designated as a guard, Dave Eshelman, develops an entire persona linked with his role: He puts on a southern accent, starts calling the prisoners "boy," and leads the rest of the guards in verbally abusing the prisoners.

Later on in interviews, Eshelman said he was trying to mimic the role of the sadistic prison warden portrayed by Strother Martin in the movie "Cool Hand Luke."

"What came over me was not an accident," Eshelman told Stanford Magazine. "It was planned. I set out with a definite plan in mind, to try to force the action, force something to happen, so that the researchers would have something to work with."

But Zimbardo and the experiment set-up played a big role

Because the "John Wayne" guard takes such a front-and-center roll in the film, it seems like almost all of the guards (with one exception) took their role to the extreme that he did.

In reality, out of the 11 participants who became guards, only a few actually began verbally or physically abusing the prisoners. The problem, then, was the sample size: With only 24 participants, even a small number of people acting a certain way would influence the entire outcome.

These days, such a small sample size would likely render the entire experiment moot, New York University psychology professor Eric Knowles told Business Insider. "In that small of a group, all it takes is one person to influence the rest of the participants. And then it's hard to tell what is causing the outcomes you're seeing. Is it the situation? Or is it just that one person? What would the situation have been like if he weren't there?"

The volunteers may have just been doing what the researchers wanted them to do

Plus, as psychologist Peter Gray has argued, many of the participants — especially the guards — may have simply been doing what they thought the researchers wanted them to do. Since Zimbardo and the others basically told the guards to act cruelly, they did so.

"I often wonder to what extent did those people feel like actors in a play?" said Knowles.

Carlo Prescott, the ex-convict in the film who Zimbardo consults with on the experiment, says this himself in an article he wrote afterwards for the Stanford Daily called, "The Lie of the Stanford Prison Experiment":

"To allege that all these carefully tested, psychologically solid, upper-middle-class Caucasian 'guards' dreamed this up on their own is absurd. How can Zimbardo … express horror at the behavior of the "guards" when they were merely doing what Zimbardo and others, myself included, encouraged them to do at the outset or frankly established as ground rules?"

As he's since admitted, Zimbardo clearly told the guards how he wanted them to act before the experiment even began. Here are some of his exact words (as he remembers them, at least) about what he told the guards, from his recent book, "The Lucifer Effect":

"'We cannot physically abuse or torture them,' I said. 'We can create boredom. We can create a sense of frustration. We can create fear in them, to some degree. We can create a notion of the arbitrariness that governs their lives ... They'll have no privacy at all ... They will have no freedom of action. They will be able to do nothing and say nothing that we don't permit. We're going to take away their individuality in various ways.

'In general, what all this should create in them is a sense of powerlessness. We have total power in the situation. They have none.'"

And the recruits may have already been predisposed to act the way they did

To recruit volunteers for the experiment, Zimbardo and his team posted an ad in the newspaper calling for volunteers for a "study of prison life."

That alone may have jump-started what psychologists call "selection bias," or choosing only a certain subset of volunteers that's not accurately representative of the population as a whole. The wording of the ad, for example, could have drawn certain kinds of people, Alfred P. Sloan Foundation Vice President of Programs for the Public Understanding of Science and Technology Doron Weber told Business Insider. (The Sloan Foundation, a science research nonprofit, provided grants to help fund the film.)

"When they advertised for the experiment by calling for volunteers with the newspaper ad, they called it a "prison study" so who do you think is going to volunteer for that study? Likely people who have a predisposition to do so, people who could also have a predisposition to sadism or whatever, rather than just a bunch of neutral volunteers."

Plus, the "experiment" wasn't really a true experiment

The film alludes to the controversy Zimbardo's experiment is met with, but doesn't go any further than that. In reality, the controversy Zimbardo's study drew fromother researchers in the field was pretty intense.

Beyond Zimbardo getting directly involved in the experiment and the ad calling for volunteers having the words "prison life" in it, the experiment lacked a control, the group in an experiment that gets subjected to all the parts of the experiment except the variable. (In this case, the control could have been a group of students kept in the same conditions as the fake prisoners and guards, only without their titles and assigned roles, for example.)

This is important because it means the researchers likely weren't testing what they thought they were testing. While Zimbardo claims they were testing the situation of prison life, they may really simply have been testing how well the guards took on the role that the researchers gave them.

"As far as saying what's going to happen when you put person A in situation X, it doesn't tell you all that much," says Knowles.

So what can we take from the film?

Despite its exaggerations (it is a movie, after all!) the film is a fairly accurate portrayal of the simulation that Zimbardo and his coresearchers created. It also sheds some light on the incredibly fine line between hard research and the "tainting" effects of real life.

Plus, it provides some insight into how people change their behavior when trying to please someone in a position of power — be they the psychologists leading the study or the subjects asked to pose as fake prison guards.

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NOW WATCH: This is why we are compelled to lie

Warning: spoilers ahead

LeBron James is certainly not the first or last professional sports star to be cast in a movie. But he’s one of the few who can actually act.

In “Trainwreck,” the newest Judd Apatow comedy starring Amy Schumer (who also wrote the screenplay), James plays a version of himself who is good friends with a sports doctor named Aaron (Bill Hader) who falls in love with Schumer’s character, Amy.

It feels like a stretch that James would ever be buddy-buddy with a sports doctor in real life, but for a comedy it’s incredibly effective, and that’s thanks to the surprising acting chops of the four-time NBA MVP.

James knows how to deliver a joke and looks calm in front of the camera, which has always been what kills the appearances of sports stars in the past (think Brett Favre in “There’s Something About Mary” or all the NBA stars outside of Michael Jordan in “Space Jam").

 And Apatow/Schumer gave James a great character trait — trying desperately to be relatable when you’re a huge superstar.

The first time we see James, he shows up to Aaron’s office to find the sunglasses he left behind. When Aaron says, “You drove back 40 minutes to get your glasses?” James answers back, “I’m not giving Sunglass Hut another $30!”

The fiscally conservative attitude shines through later when James and Aaron have lunch and multimillionaire James is adamant that they split the check. When Aaron finally gives in, James realizes he left his wallet in the car.

James holds his own opposite Hader, never looking overwhelmed and never trying to perform with an overplay of emotion.

The funny thing is how James was even considered for the role.

Schumer had James’ name originally in the script, but not because she's a huge basketball fan. In fact, Schumer, like her "Trainwreck" character, knows nothing about sports. 

“He's the only basketball player I’ve ever heard of,” Schumer told Entertainment Weekly for their July 3 issue. But she was in luck.

James has shown in the past that he can be a performer. He has cohosted the ESPY Awards and hosted "Saturday Night Live," but a movie is a different animal, especially when it's not just a cameo and the athlete is a crucial part of the story line.

James especially shines in "Trainwreck" when he is playing basketball one-on-one with Aaron and they are talking about Amy (while James blocks every shot Aaron puts up). At one point — again, poorly trying to relate to his buddy — James goes on a long tangent about the consequences of having sex without protection. Not with a condom, but a lawyer. He explains the horrible aftermath of having sex with a gold digger (a common peril for someone of his fame) and in mid-sentence starts spouting lines from the Kanye West “Gold Digger” song.

James definitely has a second career he can embrace once he hangs up the sneakers.

“Trainwreck” opens in theaters on Friday.

Here’s a bit more of James showing off his acting chops. Watch this Funny Or Die video he did with Schumer, Apatow, and Hader on his pitch for a “Trainwreck” sequel (that features a lot more of King James).

SEE ALSO: Amy Schumer came up with the idea of "Trainwreck" during a very personal conversation with Judd Apatow

MORE: Everything you missed from last night's athlete- and celebrity-filled ESPY Awards

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It's kind of crazy that "Suicide Squad" is going to be the first DC comic book to get a movie after Warner Bros.' aggressive new slate of superhero movies kicks off with "Batman v Superman: Dawn of Justice" in March of next year. Given that the studio has yet to truly find its footing with the cinematic versions of its heroes, jumping right into things with a team of villains that the general populace probably doesn't know anything about is an incredibly ballsy move. 

That also makes it the perfect move. 

While the trailer for "Suicide Squad" doesn't tell us much, it does know that the movie's basic hook is a great one, and leans into it hard: This is a team of some of the worst supervillains in a world where Superman exists, sent on missions where success is not likely. 

And if that doesn't intrigue you, hey, here's the Joker and also a shot with Batman on top of a Lamborghini. 

There's a reason the trailer ends with the Joker: He's easily the most recognizable villain of the bunch. Want to know who the rest are? 

Read on. 

SEE ALSO: Everything you need to know about Ant-Man

VIola Davis will play Amanda Waller.

As the trailer says, Amanda "The Wall" Waller is the fierce will pulling the strings behind the Suicide Squad, because she really is that good at getting people to "act against their own self-interests."

Captain Boomerang will be played by Jai Courtney.

George "Digger" Harkness, aka Captain Boomerang, is an Australian master of boomerangs, which is kind of hard to take seriously. In the comics, he hasn't been the best team player in the Squad.

Jay Hernandez plays El Diablo.

 Though there are multiple versions of him in the comics, Hernandez is most likely playing Chato Santana an ex-criminal who becomes a member of the Squad in the New 52 series. He could have pyrokinetic abilities or be a host to a spirit of vengeance. Probably not the latter.

NOW WATCH: Here's the new 'Batman v Superman' trailer that just got a standing ovation at Comic-Con

Curtis Jackson aka 50 Cent filed for Chapter 11 bankruptcy protection on Monday.

The filing followed after a judge ruled that 50 Cent owed Rick Ross's former girlfriend $5 million for exposing a sex tape with her on it. 

And despite what the jokers say on Twitter, that doesn't mean the rapper is actually broke.

In addition to his studio albums selling more than 21 million units and a handful of endorsement deals, 50 Cent serves as an executive producer on Starz's hit show, "Power," which is currently airing its second season.

"Power" stars Omari Hardwick as James "Ghost" St. Patrick. Ghost owns a nightclub and he's involved in New York City's dangerous drug trade. Although he wants to legitimately focus on his nightclub, the drug world has a strong hold on him.

Critics have been pleased with "Power." It scored a 7.8 on IMdB and a 100% fresh rating on Rotten Tomatoes.

It has also been a ratings success for Starz. The second season premiere was the premium network's highest-ever season premiere with 1.43 million people tuning in live.

50 Cent doesn't consider himself to be your typical executive producer.

"I'm not doing traditional on-set production," he said during January's Television Critics Association Press Tour. "I kind of keep up communications with the talent. When you participate by acting in the series at the same time with them, you build that bond on the talent level and communication’s open. Everybody feels comfortable to come to you to tell you what a problem is before creating an additional problem."

On screen, the rapper plays Kanan, Ghost's former mentor who is now gunning for his ex-student's drug empire.

So how much is 50 Cent making off his work on "Power"? According to Glassdoor, TV executive producers make an average of $146,538. Since 50 Cent is a name, he can make more. THR reports TV actors can make between $150,000 to $1 million an episode.

Just this May, Forbes estimated 50's net worth to be around $155 million, ranking him No.4 on the list of the wealthiest hip-hop artists.

50 Cent can depend on the Starz paycheck for at least another year as the series was given a Season 3 renewal in June.

SEE ALSO: Here's how 50 Cent spent his millions before filing for bankruptcy Read more:

MORE: 50 Cent gave a perfect explanation for why people shouldn't buy Jay Z's Tidal

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NOW WATCH: This is how rapper 50 Cent made millions and then lost it

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For anybody who has ever questioned the lack of female Minions, filmmaker Pierre Coffin has some answers for you.

The gender and sexuality of the tiny yellow troublemakers who first appeared in “Despicable Me" have been debated since the animated franchise’s original film was released in 2010.

One widespread theory was that Minions were gender neutral, since they don both traditionally male and female attire.

Other fans viewed them as boys who occasionally cross-dress: all of the Minions have male names, such as Stuart, Kevin, and Bob. 

One “Despicable Me” enthusiast suggested that, if all male, Minions could be “the new gay icons,” as they demonstrate to children that “a little gender bending is fine!” and even kiss on several occasions in the first movie. 

Now, as the "Despicable Me" spinoff movie "Minions" hits theaters, the filmmaker has spoken, and it’s official: all Minions are, in fact, male. 

Why make such a choice in a time when male-dominated children’s movies are so rare?

“Seeing how dumb and stupid they often are, I just couldn’t imagine Minions being girls,” Coffin told TheWrap. According to the French animator, all of the title characters are voiced by male actors.

The film is not without female characters, of course: the villain, Scarlett Overkill, is voiced by Sandra Bullock. 

But the gender imbalance has drawn criticism from some concerned parents. 

“Why can’t we show children a fantasy world where gender equality exists?  ‘Minions’ does the opposite, reproducing and in fact, managing to exaggerate sexism so that females have hardly any place or representation in the world at all,” writes one blogger, the mother of three girls. “I’m appalled and disgusted that movies like ‘Minions’ are allowed to be made in 2015 and shown to little kids, teaching a new generation to expect and accept a world where girls go missing.”

Despite such concerns, “Minions” opened at the box office with record numbers this past weekend, garnering $115.2 million in North America and making it the second biggest animated film opening in history. The film has received mixed reviews from critics, earning a 54% rating on Rotten Tomatoes.

Now only one question remains on the minds of movie-goers: if there are no girl Minions, how does the species propagate?

There are currently two competing fan theories to expain where the little guys come from.

One is that regular humans are turned into Minions by a Minionizer machine, a ray gun-like instrument similar to the one seen on the Minions ride at Universal Studios theme park. Another is that they are cloned from a single strand of mutated DNA, as suggested by one of the short films.

Coffin has declined to reveal the exact origin of the tiny yellow henchmen so far, but the Minions aren’t done telling their story yet: they’ll be back soon enough in “Despicable Me 3,” slated to open in June 2017.

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NOW WATCH: 'Game of Thrones' author George R.R. Martin reveals the origins of the Targaryens

Warning: If you haven't seen "Ant-Man," there are major spoilers ahead!

"Ant-Man" is finally here, and with it one of the new summer blockbuster traditions returns: The Marvel post-credits scenes. 

If you're heading out to see the new film this weekend, don't head out right before the movie ends. 

Unlike "Avengers: Age of Ultron," which only featured one scene after the stylish main credits, "Ant-Man" has two: One after the main credits (the "mid-credits" scene), and another after the long crawl.

If you headed out early or were left scratching your head, here's what you should know.

The Mid-Credits Scene

What happens:

In probably the most puzzling choice for a Marvel post-credits scene, the first rejoins Hank Pym (Michael Douglas) at home with his daughter Hope (Evangeline Lilly). Pym tells her there's something she should see. 

Pym reveals the wall at the back of the vault where he kept the Ant-Man suit he gave to Scott Lang was in fact false, and behind it lies a newer, more advanced suit modeled after the one her mother, Janet Van Dyne, wore as The Wasp. (We never see Janet in the movie, but she briefly appears in costume during a flashback scene. Janet's Wasp costume, however, was identical to the one Hank wore — just with wings). 

The new suit is predominantly blue and silver, and the tech powering it looks far more advanced. Pym tells Hope that it was a "prototype" that he and Janet were working on together. He says he thought they were working on it for Janet, but he supposes that they were really working on it for Hope. 

Hope, meanwhile, tears up with validation, before saying the final line in the scene:

"It's about damn time."

What's so puzzling about this scene:

Frankly, it has no business taking place after the credits. It's such a clear conclusion to Hope's arc throughout the film — who spends most of it resenting Hank for not letting her wear his suit and take on Cross herself (while also demonstrating that she's far more capable a choice than Scott) that it deserves to be part of the film proper. It certainly is a better place to leave Hope than her actual last scene — which is making out with Scott. As for the future of the Marvel Universe ...

It seems like it's clearly setting up Hope Van Dyne as another hero in the Marvel Universe. But which one? Smart money says she assumes her mother's code name and becomes the Wasp, much like Scott Lang took on Hank Pym's old Ant-Man alias. 

But.

"Ant-Man" is extremely careful to never show Janet Van Dyne's face. Even in photographs! That, taken in conjunction with an Easter egg director Peyton Reed hinted at that sharp-eyed viewers should be able to see during Scott's climactic trip into the Quantum Zone seems to suggest that Marvel has plans for Hank Pym's lost love, plans that might even result in someone being cast to play her in the future. 

If that's so, then it adds an interesting wrinkle: If Janet Van Dyne returns, will she be the Wasp? And if so, what will Hope be? 

It should be noted that Hope Van Dyne does not really exist in the comics. There is a Hope Pym that resides in an alternate universe where all the Marvel heroes have grown old and their children have now taken over, but there she's the villainous Red Queen.

She looks like this:

Given that Marvel's plans for the next few years are pretty thoroughly laid out, it's doubtful we'll see this — but given the studios penchant for remixing the greatest hits of the comics, don't be surprised if it's referenced somehow. 

The Second Scene

Remember "The Winter Solider?" The next scene is brief, and a bit unclear as to what's happening.

We see Anthony Mackie as Sam Wilson/The Falcon (who appears in one of  the very best scenes in "Ant-Man") meeting up with Steve Rogers in a garage somewhere. They're in a jam — they've found Bucky Barnes (Sebastian Stan), who went missing at the end of "The Winter Soldier." 

It looks like he's in bad shape, but we don't know why. Cap and the Falcon (in their civilian garb) need help, but they can't call Tony Stark — they say he'll be busy with something called "the accords." They have to go off-book for whatever it is they need to do. But it's no problem, because Falcon says "I know a guy," right before the message "ANT-MAN WILL RETURN" appears on-screen. 

What this means:

The next post-credits scene is a cryptic nod to the next Marvel movie, 2016's "Captain America: Civil War," but also picks up a plot thread from the previous Cap movie. 

There's not nearly as much to unpack here, other than the first notion of what may cause a rift between Steve Rogers and Tony Stark: Steve goes on a mission without any oversight, and Tony is working on some sort of policy. The center of it all then, will probably be Bucky Barnes. 

It's a hunch, but I feel pretty good about it. 

SEE ALSO: The most obscure 'X-Men' characters ever come to life in new 'Deadpool' photos

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NOW WATCH: Marvel celebrates the release of ‘Ant Man’ with a microscopic art show

Bill Cosby's efforts to keep secret the details of a decade-old sexual assault claim appear to have ended.

The New York Times has obtained the nearly 1,000-page full transcript of Cosby's 2005 deposition, in which he was questioned in the case of a woman who accused him of drugging and molesting her.

In it, Cosby admitted to obtaining sedatives to use on young women he wanted to have sex with.

The Times reports that during the 2005 case involving a woman named Andrea Constand, Cosby denied sexually assaulting the woman, but acknowledged that they did have sex. Cosby testified that he offered to pay for Constand's educational expenses as compensation.

When Constand's lawyer asked Cosby how he planned to make the payment without his wife, Camille, finding out, Cosby said, "My wife would not know it was because Andrea and I had sex and that Andrea was now very, very upset."

According to the deposition, Cosby — whose net worth is believed to be about $400 million — routinely paid women to keep quiet.

Details of the questioning show Cosby in an unflattering light, according to the Times, as the comedian spoke "with casual disregard" about his various pursuits of young women.

In the 2005 deposition, Cosby at times appeared confident about his encounter with Constand, calling himself a "decent reader of people and their emotions in these romantic sexual things."

Cosby describes how he walked Constand out after the encounter, having not perceived it as anything less than consensual:

"She does not look angry. She does not say to me don't ever do that again. She does not walk out with an attitude of a huff."

Cosby allegedly used similar methods with the young women he pursued — some of whom were aspiring models and actresses — by offering to mentor them and share career advice.

The comedian, who has been married since 1964, testified he persistently engaged with the women he pursued, often inviting them to dinners alone and meeting up for "rendezvous," as he put it, which allegedly ended with many of the women being drugged, and left in various states of undress.

This "calculated pursuit" of women conflicts with the persona on which Bill Cosby has built a lifelong career — that of a wholesome father figure, once immortalized in the character he played on his eponymous sitcom in the 1980s.

The accusations that have emerged since then had been met with mixed reaction until the Associated Press published a portion of the deposition transcript earlier this month. Some of Cosby's celebrity backers who earlier defended him have since withdrawn their support.

At least one former "Cosby Show" cast member, Joseph C. Phillips, declared last week, "of course Cosby is guilty," in an editorial on his website. 

Dozens of women have come forward with accusations against Cosby, with some of the claims reportedly dating back to the 1960s. To date, Cosby has not faced any criminal charges, because the statutes of limitations in some of the claims have expired.

However, at least one claim against Cosby is currently being investigated by the Los Angeles Police Department.

CNN reported earlier this year that a woman named Chloe Goins has accused Cosby of sexually assaulting her at the Playboy Mansion in 2008.

The claim, Goins lawyer says, still falls under the statute of limitations for possible criminal charges.

Fallout from the scandal has directly affected Cosby's career.

The comedian lost his talent representation last year, and TV networks that aired "The Cosby Show" have pulled the plug.

Some have called for Cosby to lose his star on the Hollywood Walk of Fame, and a White House petition to revoke his Medal of Freedom has garnered more than 13,000 signatures.

President Barack Obama spoke about that petition last week, saying there was no precedent for taking back the Medal of Freedom. Referring to the allegations against Cosby, Obama said "This country, any civilized country, should have no tolerance for rape."

Cosby has publicly denied any wrongdoing. 

SEE ALSO: The shocking backstory behind the Bill Cosby rape allegations that just blew up again

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The saddest show on television is not a drama but rather a half-hour animated comedy. 

"BoJack Horseman," which is ramping up for its second season on Netflix, has gained a loyal following, but it still remains television's best kept secret.

"BoJack Horseman" was the best show of 2014. I stand by that claim, and believe that "BoJack" could even take that spot again in a very crowded field of contenders. 

The animated series takes place in a version of Hollywood inhabited by both humans and anthropomorphic animals. BoJack Horseman (Will Arnett) is a horse who was also the star of 1990s sitcom "Horsin' Around." Now, BoJack is a burned-out, boozing has-been who lives in a big empty mansion with no one but Todd (Aaron Paul) who calls BoJack's couch home. 

Season one saw BoJack hit some incredible lows. 

After his memoir, ghost-written by Diane (Alison Brie) becomes a hit, BoJack is once again in the public spotlight and now up for his dream role as Secretariat. Thus, season two starts on a more optimistic note. 

Animation and serialization often don't go hand-in-hand. Some of the greatest animated shows of all time, from "The Simpsons" to "South Park," typically start over every episode. Therefore, Homer can accidently destroy Springfield and Kenny can die in every episode and come back just fine. However, if BoJack says something heartless and terrible to Diane (which happened a lot during season one), she will still be mad at him in the next episode. 

"BoJack" will take you by surprise. For anybody who has ever gotten a kick out of the idea of animals acting like humans, then "BoJack" is paradise. There is no science involved, but this show is very detailed about what it would be like if animals acted like humans. 

And the human characters are equally ridiculous. In season one, BoJack's agent Princess Carolyn (Amy Sedaris) dates Vincent Adultman, who is clearly three small children stacked on top of each other in a trench coat. However, Princess Carolyn is so used to taking care of the immature BoJack that she has no idea what an actual adult male behaves like. Creator Raphael Bob-Waksberg has also stated that this character represents his worldview that nobody really knows what they are doing, and all adults might as well be tall children.

The show's goofiness hides its dark, emotional heart. BoJack is one of the most honest portrayals of depression and loneliness that I can think of. In a season one episode, BoJack sincerely asks a crowd of people whether or not he is a bad person and it is chilling. Like any confident comedy, "BoJack Horseman" knows that you don't need constant jokes in order to be great.

Season two continues to take some bold storytelling risks and because it doesn't have to introduce an entire world, it gets off to an even stronger start than season one. BoJack has finally landed his dream role and he might have even found love, but given that this is "BoJack Horseman," that doesn't mean he is happy. 

Just a few episodes into season two and the show has decided to slow down its main storyline in favor of character development. So far, this has been a fantastic success.

One standalone episode, which is a series of vignettes centered around the show's three main romances, is unlike anything I've seen in an animated show. In another great example of how the show uses silly to bring out serious, Todd spends an entire episode trying to save a chicken from the slaughterhouse. What seems like another divergent Todd caper turns into a character study of Todd trying to find his purpose in life.

Like many sitcoms, "BoJack Horseman" isn't immune to having one character who doesn't quite fit in to the rest of the story. However, "BoJack" is also smart enough to comment on this.

Oh yes, "BoJack Horseman" is still a comedy, and one that is perfectly tailored for Netflix. Like "Arrested Development" (also starring Will Arnett), it is layered with jokes.

It is the kind of show that is meant to be paused, rewound, and rewatched over and over again. It is fun enough trying to figure out which celebrity voiced who when the names pop up in the opening credits (there is a brief one this season that has to be seen to be believed). Let's just say that "BoJack Horseman" is the only show I've ever watched with a talking horse that I have built a serious emotional bond with.

All 12 episodes of season two of "BoJack Horseman" will be on Netflix on July 17.

SEE ALSO: How A Comedian With No Experience Got Such Huge Names To Join 'BoJack Horseman'

SEE ALSO: Everyone’s freaking out about this incredible fake trailer for a Netflix show

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NOW WATCH: If this hilarious trailer doesn't sell you on Season 2 of Netflix's dark cartoon comedy — nothing will

Wellington (AFP) - AC/DC drummer Phil Rudd has been arrested again in New Zealand and was behind bars on Sunday night, his lawyer said.

Details of the charges were unclear and police refused to confirm the 61-year-old had been arrested, less than two weeks after he was sentenced to home detention after pleading guilty to threatening to kill and drugs charges. 

However, his lawyer Craig Tuck told journalists Rudd would be appearing in court on Monday.

"All I can say is he has been arrested and will be appearing on Monday at 10am (Sunday at 2200 GMT) in the Tauranga District Court," Tuck said.

"That's all I can say for now and that's all I am telling everyone who is calling."

When Rudd was recently sentenced to eight months' home detention, the judge warned him that jail would be the next step if his "rock star lifestyle" continued.

Judge Thomas Ingram said Rudd's limited criminal history meant home detention was appropriate for threatening to kill his ex-security chief, but said he would be closely monitored and imprisoned if he breached the terms of the sentence. 

"I stone cold guarantee that's where you'll end up," Ingram said, adding: "The temptations of the rock star lifestyle have caused your downfall here."

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Jake Gyllenhaal's latest transformation turned him into an intense prizefighter trying to get his life back on track in the coming drama "Southpaw," in theaters July 24.

To convincingly play character Billy Hope, the actor had to commit to an intense workout and boxing regimen, especially because he was already in frail form having just finished playing the creepy lead in the 2014 thriller "Nightcrawler," for which he dropped 30 pounds. 

"I said, 'Jake, you have to train like a fighter,'" "Southpaw" director Antoine Fuqua said in a behind-the-scenes video on the training. "I can't have you faking it."

Six months before shooting began on "Southpaw," Gyllenhaal teamed with former pro boxer Terry Claybon to prepare for the role.

His daily routine included: 

— Going to the gym twice a day for a total of six hours
— 2,000 situps
— Three hours of boxing
— Three hours of cardio and weight training

The intense training transformed Gyllenhaal from his slender look in "Nightcrawler" ...

... to this.

But training didn't end when filming began.

During principal photography, Fuqua trained with Gyllenhaal every morning before shooting started.

"Antoine decided to go with me on the physical journey," Gyllenhaal said in the video. "It was amazing to have your director there pushing you every day."

See Gyllenhaal in action for yourself in the training video below.

SEE ALSO: New movie 'Southpaw' was created for Eminem — but here's why the role ended up going to Jake Gyllenhaal

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Following a failed coup attempt on the Indonesian government by the Indonesian Communist Party in 1965, a horrific purge of Communists from the sovereign state was conducted that included the formation of death squads that conducted mass killings of men, women, and children.

Often that included squads killing their neighbors or those they knew. Estimates put the death toll at 1 million.

At the request of victims’ families, filmmaker Joshua Oppenheimer has been confronting the now elderly death-squad members since 2003. However, since the failed coup, a generation of Indonesians have been taught that the killings were warranted, and the death-squad members have been regarded as heroes.

This led to Oppenheimer making the Oscar-nominated 2012 film “The Act of Killing.” To expose the atrocities committed within a nation where those in power deemed it lawful, Oppenheimer gained the trust of some of the most high-ranking members of the death squads and persuaded them to reenact their killings in the style of Hollywood genres, like a black-and-white film noir or musical number.

“It was like wandering into Germany 40 years after the Holocaust if the Nazis had won,” Oppenheimer told Business Insider of the experience.

The result is powerfully effective. The film’s main character, death squad leader Anwar Congo, though seemingly proud to do the reenactments, even bringing his grandchildren to watch the footage Oppenheimer shot, by the end of the film is riddled with guilt.

In the final scene, while Congo tries to describe to Oppenheimer on camera how he killed one of his victims, he begins to get sick. The film ends with Congo unable to talk and dry-heaving as he walks off camera.

Now Oppenheimer brings us the second and final film on the atrocities, “The Look Of Silence” (in theaters Friday).

This time, the filmmaker follows Adi, an Indonesian from a small village whose brother was killed by the death squads, as he confronts the members responsible for the killing.

To successfully film these “confrontations,” as Oppenheimer described them to Business Insider, he said the making of “The Act of Killing” was crucial. 

"We could not shoot 'The Look of Silence' until I became kind of untouchable by the local authorities by having made 'The Act of Killing,'" Oppenheimer explained. 

In the early 2000s, Oppenheimer tried to make a film about Adi’s family and other victims of the killings. But soon he realized that he and the families were in danger, as the authorities were watching them. That led to Oppenheimer’s journey to film the perpetrators instead and gain their trust.

Though “The Act of Killing” had not been released in theaters yet when Oppenheimer began shooting “The Look of Silence,” the ability to go to the killers in Adi’s village and tell them he had just filmed a movie that featured the highest-raking members of the death squads was enough to keep him protected.

“They would not dare to physically attack me,” said Oppenheimer. “It was as if you went to a small town in American and you said you were with the president of vice president, they would hesitate to beat you up or call the police.”

“The Look of Silence” is even more chilling than “The Act of Killing” because of the inclusion of a victim’s family. Adi and his mother and father often see the killers of his brother, Ramli, as they live in the same village. But that doesn’t stop the killers from boasting to Oppenheimer what they did. Even taking him to where they killed Ramli and hundreds more.

Oppenheimer showed Adi the footage he shot of the killers and even filmed him watching it. 

Then it was time for Adi to confront the killers. To make it possible for this to happen, Oppenheimer told the killers he was bringing along Adi, who is an optometrist by trade, for his follow-up interviews with them and that in appreciation for cooperating he would test their eyes and give them as many pair of glasses they desired free of charge. But Oppenheimer also told the death squad members that Adi had a personal history with the killings.

This led to incredible exchanges between a calm and calculated Adi and the killers.

Oppenheimer called one particular meeting, between Adi and killer Inong “the most important thing I’ve learned doing these films” as it showed “the human capacity for evil depends entirely on our ability to lie to ourselves.”

Oppenheimer tracked down Inong and learned he was one of Ramli’s killers. Oppenheimer even filmed Inong describe in detail how Ramli was murdered, footage that Adi would later watch.

While getting his eyes tested by Adi, Inong begins to brag about the killings.

"It was almost like the stories were dangling in the air to both impress and frighten Adi,” said Oppenheimer. “He said ‘Everyone in my community is afraid of me,’ and you understand through these stories he’s telling that he wants to keep people afraid. He’s talking with these test lenses on and he kind of looks like a demon.

"When I saw this I moved the camera right on Inong’s face. Twitching as he waited for the response to his awful, unthinkable stories."

However, Inong was caught off guard by Adi’s counter, as he questions the killer’s actions and what right he had to kill innocent people.

In this exclusive clip given to Business Insider, you can see how tense the encounter got:

“All the perpetrators are human and they therefore know the difference between right and wrong,” said Oppenheimer. “So they need an excuse, and cling to it forever after they commit the crime. I think that’s why Inong gets so angry at Adi. He’s trying to protect the lie because without it he’s not sure how he’ll live with himself.”

Oppenheimer said when he wrapped filming this scene Inong was upset with him.

“He said to me, ‘How dare you bring a communist to my house!’” Oppenheimer said. “For tactical reasons I tried to calm things down as best I could so Adi and I didn’t leave and suddenly are pursued by the police.”

Watch the trailer for “The Look of Silence.”

SEE ALSO: Documentary filmmaker Ken Burns on the important subject you won't learn in business school

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Warner Bros. and DC Comics showed off a lot of merchandise for its upcoming "Batman v Superman" movie at Comic-Con this year. 

Not only could fans check out costumes and props from the movie up close, but they could also get a sneak peek at a lot of the toys from Mattel that will be out next year in conjunction with the film.

There will be a lot of versions of the Caped Crusader and the Man of Steel on shelves come next year.

If you missed out on the Con, here's a look at everything we saw:

This Superman toy makes Supes' cape look like he has wings. For some reason, it also has his Superman logo on both the left and right sides of his cape. The strangest bit; however, are the lines which rupture through his suit.

The lines are there because you'll be able to light Superman up to show off his laser vision. This looks a little terrifying.

Similarly, there will be a Batman figure released that also lights up. It looks like Batman is wearing his suit to go up against Superman here.

You'll be able to get your hands on a few different versions of the duo next year.

You'll also be able to play as Wonder Woman. She will also be available January 1.

Lurking in the background you can see another smaller Batman in battle armor wielding a weapon:

This is probably one of our favorite Batman figures.

Here's another look at him:

You’ll be able to get both 6” and 12” figures for the Man of Steel. The 6: figure comes with a shield.

​

The 6" Wonder Woman figure also comes with a shield. Behind her is another variation of Batman in his battle armor.

This larger version of Wonder Woman will also come with a shield.

Yet another Battle Armor version of Batman.

You'll also be able to get a few different versions of the Batmobile. Here's Mattel's Speed Strike Batmobile, also available January 2016.

This version of the Batmobile looks like it may be able to shoot kryptonite.

Let's not forget about the Batjet, which, if the trailers have been any indication, will be seen in the film.

A Batman Deluxe Blaster also appears to shoot kryptonite bullets.

Curiously, on either side of the Deluxe Blaster there were also two Batman and Superman figures which looked like Rock'em Sock'em Robots, but they weren't accompanied by any tag. Since we were at the Mattel booth, and Mattel releases Rock'em Sock'em robots, it appears that that's exactly what these are. Pretty cool.

Want to be the Batman? Kids will be able to get a Bat mask helmet that will allow themselves to change their voice to sound more like the Caped Crusader.

All of the above toys will be available from Mattel in January 2016. "Batman v Superman: Dawn of Justice" is in theaters March 25, 2016.

SEE ALSO: The "Star Wars" stormtrooper everyone went nuts for at Comic-Con

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Walt Disney Co. is arguably the world's most powerful and best-known media and entertainment company. Not only does it own the famous theme parks and movie studios, but it also counts several subsidiaries under its auspices including ABC, ESPN, Pixar, Marvel, and Touchstone Pictures. 

That combination of properties has delivered blockbuster gains for investors in recent years as the stock has appreciated more than 500% since the Great Recession. Investors have benefited from both earnings appreciation and multiple expansion as the stock has risen at nearly double the pace of earnings over the last five years, following a general trend in the market.

Still, for earnings per share to more than double in five years is no small feat for a company of Disney's size. Despite its bulletproof brand and rocket-like growth in recent years, Disney is facing a new kind of risk that could undermine the company's profit machine and put negative pressure on earnings. 

About half of Disney's $13 billion in operating income comes from its cable networks, and the segment is by far the company's most profitable on a margin basis, delivering a whopping 43% operating margin last year. 

The crown jewel in Disney's cable empire is ESPN. ESPN is by far the most popular network on cable, and it has spawned a family of channels that have become synonymous with sports entertainment. While Disney does not break out ESPN's results, the network brings in more than four times the affiliate fees of any other network, charging an average of $6.55 per subscriber per month to carry its programming.

Disney's next best network was the Disney Channel, which charges $1.21 in affiliate fees. ESPN2 is third at $0.74. That means a vast majority of Disney's cable profit comes from ESPN, and the sports brand may therefore be responsible for nearly half of the parent company's earnings.

Trouble in paradise

Part of the reason why ESPN has become so valuable to both Disney and cable providers is because live programming such as sports is one of the few areas of television protected from streaming services like Netflix. It is also less susceptible to DVR viewing, which viewers can use to skip ads, so ESPN can command a higher ad rate.

However, pay TV subscriptions have peaked as cord-cutting is becoming more popular, and that's creating a challenge for ESPN. Disney's cable profit peaked over a year ago in March 2014 at $6.6 billion on a trailing-12-month basis, falling to $6.3 billion a year later. 

That decline can be attributed to ESPN losing 3.2 million subscribers over the past year as people have dropped or trimmed cable packages, as well as to the ballooning prices for the rights to broadcast live sports as competitors like Fox Sports and Comcast have entered the market.  

This means ESPN's costs are growing while its subscriber base is declining, a troubling proposition for its future.

What the future holds

ESPN's carriage fees are expected to continue their exceptional growth, hitting as much as $8.37 monthly per subscriber by 2018, according to media research firm SNL Kagan. But advertisers care about viewers. And if audiences are declining, ESPN's profit is likely to continue to slip. Meanwhile, any aspirations to strike out on its own like HBO Now are limited by agreements that would allow cable providers to remove ESPN from their most popular packages and only offer it a la carte.

The network has benefited from a fortuitous moment in media consumption as viewers move from cable and satellite service to streaming options, but that bonanza is coming to an end.

For Disney investors, that also means that the stock's fairytale journey may soon meet its fate.  

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RAGLAN, New Zealand (Reuters) - Deep in New Zealand's dairying heartland, drone maker Aeronavics tests aircraft designed to corner the fast-growing emerging market for unmanned aerial vehicles in the film and television business.

The developer of drones used in the production of "Dr. Who" and the "Twilight" films is one of a stable of New Zealand firms that are using the country's reputation for innovation in the film industry to stake out claims to what is expected to be a drone boom in Hollywood.

The relaxation of U.S. rules for commercial drones late last year has sparked a race to develop flying camera platforms that - while priced upwards of $100,000 each - will still cost significantly less to hire than the jibs, cranes and helicopters studios currently use to capture swooping aerial shots.

Until now, cinematographers have bolted specialized add-ons like cinema-quality cameras to off-the-shelf drones that cost a few thousand dollars each. New Zealand's drone makers want to change all that, with sophisticated, purpose-built aircraft.

"A lot of drone technology companies got their start in the custom-build film and photography sector, and the New Zealand film industry has a global reputation as leading technology advances in film," said Chris Thomson, aviation manager at government technology incubator Callaghan Innovation.

New Zealand's drone makers are building on home-grown innovation including animation software used in the "Lord of the Rings" and real-time motion capture technology that brought facial expressions to life in "Avatar".

Backed by "Avatar" director James Cameron, the New Zealand government is holding a competition for developers of drones for the film industry, focusing on criteria such as flight stability, noise reduction and weather-proofing. First prize is NZ$50,000 ($32,625.00) and an expenses-paid trip to next year's National Association of Broadcasters trade show in Las Vegas. 

FLEDGLING INDUSTRY

Aerospace and defense consultants the Teal Group expects the global drone industry to be worth $91 billion by 2024 compared with $6.4 billion in 2014.

Due to tight U.S. drone regulations, drone use in feature films until recently was limited to productions shot outside the United States, such as the rooftop chase scene in 2012's "007 Skyfall" filmed in Istanbul.

But the industry received a major boost late last year when Washington began to grant exemptions to the ban on commercial drone use on a case-by-case basis. Of nearly 700 exemptions issued by the Federal Aviation Authority by the start of July, roughly half covered aerial photography.

Aeronavics was one of the first drone makers to receive permission to fly.

The Raglan-based company plans to launch a series of aircraft later this year specializing in capturing images for cinema, broadcasting and live sporting events.

"Until now it's been about producing a drone and having customers imagine how it can work for them. There hasn't been an A-to-Z solution for different applications," Aeronavics co-founder Linda Bulk said.

LIGHTS, DRONES, ACTION

While current drones cannot replicate the height and stability of helicopter-mounted shots due to their limited payload and flying times, their ability to fly low and unobtrusively helps them capture close-up details and wide pans without cranes or other expensive equipment.

Daily rates to rent a drone for shooting purposes range between $10,000 and $15,000 per day, according to Los Angeles-based drone production firm Aerial MOB, while helicopter rentals can climb as high as $30,000 a day.

Queenstown-based Shotover Camera Systems' helicopter-mounted camera systems have been used in "Furious 7", "Jurassic World" and other blockbusters. Now it is also developing specialized drones with a six-figure price tag to meet demand for more nimble aerial camera platforms.

"A lot of people have been shooting with drones in the past few years but not really in the very high-end space, so that's where our business will operate," Shotover general manager Brad Hurndell said.

($1 = 1.5326 New Zealand dollars)

(Editing by Stephen Coates)

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We asked the genre-bending filmmaker and recent author of "Carsick," John Waters, how he manages his finances and his answers were surprisingly conservative. 

Produced by Sam Rega. Edited by David Fang.

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Amy Schumer is known for joking about her sex life, but the comedian says that with the upcoming election she will soon tackle politics as well — whether people like it or not.

"I think people only want women to speak for so long. They build you up, and then they're just ready to tear you down. Like Hillary — when it's really go time for her, I'll definitely be active, and that'll make people hate me," Schumer tells GQ in a new cover interview. "I know inevitably I'll get more political, just as an adult with changing interests, which is good — no one wants to hear me talk about who I f----d or whatever for another twenty years. And I hope I'm wrong, but I just think there's this 'Don't disappoint me in any way.' If you say one joke that offends, it feels like, 'Oh, wait, I thought you were my everything, and now you're dead to me.'"

But Schumer doesn't care what people think about her outspoken political views, telling GQ she's "always been a fan" of Hillary Clinton.

In November, the comedian met Clinton for the first time at the Glamour Women of the Year awards.

It was very cool. She was a good audience member," Schumer said of the meeting. "She commented on a couple of the jokes I told."

One joke in particular that Clinton told Schumer she resonated with: "I said that in L.A. my arms register as legs, and she really liked that. She was like, 'I can relate.'"

But not everyone was as kind to Clinton during the Women of the Year awards.

"One of the acts that had gone up before me did some stuff that was very disrespectful to her, and I definitely didn't think it was funny," said Schumer. "I said to her, like, 'What the f--- was that?' She just goes, 'Par for the course.... I'm so used to it.'"

Read Schumer's full interview with GQ here.

SEE ALSO: Amy Schumer was offered the 'Daily Show' hosting gig — here's why she turned it down

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The next season of ABC's "Shark Tank" will feature three new "guest sharks" in addition to the show's regular investors.

The guests include actor Ashton Kutcher, who's also the founder of VC firm A-Grade Investments; Chris Sacca, a former Google executive and the founder of VC firm Lowercase Capital; and Troy Carter, the founder of entertainment management company Atom Factory, who has managed the careers of musicians like Lady Gaga, Recode reports.

Kutcher's investment portfolio includes tech startups like Foursquare, Spotify, Airbnb, and Uber. Sacca was an early Uber, Instagram, and Twitter investor. And Carter has backed Uber, Dropbox, Spotify, and Warby Parker.

The new season, which starts in September, is in its 7th season. It features entrepreneurs pitching their company and product ideas to a group of investors, who either broker a deal right there or turn down the entrepreneurs on the spot.

Sacca tells Fortune that he'll be investing with his own money on "Shark Tank," but that if Matt Mazzeo, his partner at Lowercase, wants to invest, he'll be able to do so as part of Lowercase's funds. “That was the way I felt it was fairest for LPs,” Sacca told Fortune's Erin Griffith.

Sacca has been skeptical of "Shark Tank" in the past — even going so far as to call out a few of the show's investors on Twitter:

In a new blog post, though, he says that meeting with the show's producers  and talking to investors who watch the show have changed his mind. 

"What I had thought was a carnivalesque send-up of the world of venture capital is actually wildly popular among my investing peers. I had no idea," Sacca said on his blog.

He says he agreed to be on the show because it reminded him of the simplicity of investing when he was just starting out. "It was all about the product itself and musing about how to make it awesome. I have missed that simplicity, focus, and purity so much," he says.

In addition, Sacca adds that Shark Tank lets him meet a more diverse group of entrepreneurs than he'd ever get to meet in Silicon Valley. "As you have likely read or experienced firsthand, Silicon Valley startup founders tend to be male, and many ethnicities are very underrepresented in our industry," Sacca says on his blog. "Yet, Shark Tank has already given me the chance to mix it up with brave women and men from across the country and from staggeringly diverse backgrounds. It has been so refreshing."

SEE ALSO: Uber investor Chris Sacca thinks Carl Icahn made a 'big mistake' backing Lyft

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Country's top couple Blake Shelton and Miranda Lambert are getting divorced.

The couple said in a statement:

"This is not the future we envisioned and it is with heavy heart that we move forward separately. We are real people, with real lives, with real family, friends and colleagues. Therefore, we kindly ask for privacy and compassion concerning this very personal matter." 

"The couple filed divorce docs a while ago, and a judge is expected to officially end their 4-year marriage today. We're told Blake is the one who filed," reports TMZ. "We're also told all the financial arrangements have been worked out... made easy by the fact that they have a prenup."

According to TMZ sources, "he will get the ranch in Oklahoma and she'll get the family home in Nashville."

The couple, who have been dating since 2006, got married in 2011 in Texas. Together, they're worth a reported $90 million.

In February, Lambert, 31, won her second Grammy for Best Country Album. Shelton, 39, has been nominated for three Grammys and is a judge on NBC's "The Voice."

SEE ALSO: Here's why Salma Hayek's billionaire husband made her go back to work after having a baby

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