When you watch Chris Sacca spar with Kevin O'Leary and Lori Greiner on "Shark Tank" in his season seven debut, he seems like an old member of the cast.

But just a year ago, the billionaire Silicon Valley investor wrote in a blog post, he considered it a "dime-store version of my current job."

After catching a rerun last fall in which an investor demonstrated a puke bib for children by spilling soup through a papier-mache doll, he tweeted at his friends Mark Cuban and Daymond John to "Come back to the big boy game."

Several months later, Sacca found himself on the "Shark Tank" set to film a few episodes, making deals and loving it.

The path to his change of heart began when Cuban and John replied to him over Twitter and explained that his snark was misplaced, and that "Shark Tank" was part of a cultural movement that was inspiring a new generation of entrepreneurs in America.

Sacca warmed up to that idea but still found the whole process to be a "goofy" version of the process he had undergone with companies like Uber and Twitter.

Sacca told Business Insider that, by coincidence, he found himself at a friend's family Halloween party with Clay Newbill, a "Shark Tank" executive producer. They got to talking about the show, and when Sacca said he understood the appeal of the show but would never participate, Newbill told him he and his fellow producers would love to hear how the show would need to change in order for him to participate.

Sacca then found himself talking about the show with showrunner Mark Burnett and his "Shark Tank" executive producers, as well as Sony executives. He said that they actually considered his suggestions and began implementing them, including ideas on how to make the investor panel and batch of entrepreneurs more diverse and bringing on more tech companies.

Happy with his conversations, he decided he'd give the show a shot.

On set, he said he immediately liked how he was able to use the show's format to get more details from the entrepreneurs than he normally would in a pitch meeting, since "Shark Tank" pitches typically last an hour.

"For the most part I feel like I was really able to dive in and get a relatively deep understanding of these companies before making a bid," he said.

He was thrown off by figuring out deals without a calculator, but enjoyed the thrill of the competition with the other Sharks.

"You've got a panel of five really loud, aggressive talkers, and so you've got to just jump in and talk over them," he said. "That took me a few minutes on the first day to figure out and, once I got it, I had a blast."

SEE ALSO: 'Shark Tank' guest investor Chris Sacca breaks down his investing philosophy

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NOW WATCH: 'Shark Tank' star Daymond John on the advantages of being broke

Warning: Minor spoilers ahead!

"Project Greenlight" is really frustrating right now. That's why you need to catch up before this Sunday's season finale.

That's the television critics' version of "This tastes gross. Here, have some," but you won't regret it.

Apart from executive producer Ben Affleck's claim during the opening credits that "Project Greenlight" — which returned after a decade hiatus — is a "docuseries" about making a movie, it's really about being an entertaining reality show. Time to face the facts, Ben.

The die was cast in the first episode, when Affleck joined fellow producers, including Matt Damon, and mentors the Farrelly brothers to choose this season's director.

Tall and wiry Jason Mann, who had directed some stylish short films, was somehow awkward and elitist at the same time. He plainly didn't like the script chosen for the movie and basically said he didn't believe he was the right fit for the gig. The Farrelly brothers, who were to mentor the winning director, were even firmly against Mann. So, what did they do? Picked him. Of course, this was the first turn of the screw.

Enter producer Effie T. Brown. Her job is less creative and more about making sure the movie is made on budget and in the time allotted. She'll tell you herself that she has never failed at her job. She can also unknowingly speak in tones that negate her claim that she's coming at you "with love in my heart." She had most recently wrapped "Dear White People."

Now throw inexperienced but overly confident Mann in with Brown, who's not likely to take your crap, and we have a reality TV show.

From the moment he's named the director, Mann tries to fire the writer. And despite the budget and schedule, he insists on shooting on film rather than the cheaper and easier digital. He also pitches his own script in place of the one he was given. He then wants to move the location from LA to Connecticut. And he wants all of this even though Brown has told him that he can't have any of it for budgetary reasons.

He's a monster and you want to hate him, but there's a part of you that respects him for fighting for his vision. And that will drive you nuts.

On the other hand, you have Brown. She's just doing her job, but also trying to make the world a more inclusive place. She demands a diverse production crew — even though Damon wasn't quite seeing it her way — and she won't have a black person play the help when the rest of the cast and extras are white. You will like her, but also see that she isn't the greatest communicator. And that will be frustrating.

Mann and Brown will become the central conflict of the show. Mann will go around her and appeal to Affleck and Damon to get what he wants. He will drive Brown nuts by not compromising on pretty much anything. And you will be driven crazy by what he gets away with.

She will become passive aggressive and unwilling to hear others out. At one point, she causes major players to pull out of the film when they basically wanted the same things.

Shooting wrapped on the season finale last week, in which Brown does a horrible job of managing Mann's expectations of a big stunt he had planned. And then, it was clear that she was happy to be done with it.

Jason, on the other hand, left feeling as if he had made too many compromises — nothing could be so far from the truth.

Go now and binge the seven half-hour episodes on HBO Now or On Demand leading up to this Sunday's season finale. Afterward, you will be dying to know if all that conflict was worth it for Mann. For Brown. For the movie.

HBO will then air Mann's film, "The Leisure Class," after the episode and you can make your own decision.

 The "Project Greenlight" season finale airs Sunday at 10 p.m. on HBO.

SEE ALSO: Why networks really renew TV shows so early

DON'T MISS: The only TV shows you have to watch this fall

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The mystery behind Katie Holmes' apology to Leah Remini earlier on Friday has been solved.

On Friday's "20/20," Remini described how the former Mrs. Tom Cruise contributed to getting her punished by the Church of Scientology.

For Remini, it actually began with Cruise. She said that she had become critical of the movie star. She felt his behavior was damaging the public's view of the church.

"I was saying that I didn't think he was becoming of Scientologists, jumping on couches, and attacking Matt Lauer, to attacking Brooke Shields," Remini explained. "What the hell is this guy doing? We need to rein it in. We need to stop all this. And he just needs to be an actor."

Remini says she was "immediately dealt with" and accused of projecting her own problems onto Cruise. But to her surprise, Remini was invited to Cruise and Holmes' wedding.

While at the wedding, Remini saw things that bothered her. Afterward, she filed what's known as a "knowledge report" with the church in which she detailed what she viewed was wrong in the organization.

"I thought I now see where the cracks are in our church," Remini remembered. "And it's [the leader of the Church of Scientology] Dave Miscavige. It's Tom Cruise. They were bringing Scientology down."

A representative for the Church of Scientology told ABC News that Remini's statements about the wedding are not only "untrue" but "ridiculous and stupid."

Remini alleged she was then sent to their headquarters in Clearwater, Florida for three to four months for "reprogramming." She said they wanted her to recant her knowledge report and apologize.

Remini said she then found out that several members had written knowledge reports about her behavior at the wedding. They accused of her being loud and rude, for switching tables, for upgrading her hotel room, among other bad behavior. 

She said she also found out that one of those people who complained about her was Holmes. Remini read from a document, which she claims was the knowledge report Holmes wrote about her:

"I was dismayed at the behavior of Leah Remini during the events leading up to our wedding and our wedding. The behavior of a guest, a friend, that was very upsetting."

In 2012, Holmes left Cruise after six years of marriage and fled Scientology with their daughter, Suri. That was an eye-opener for Remini.

"I said, 'Where's my apology?' Remini recalled. On Friday, the 45-year-old actress finally got it.

Holmes released the following statement to press: "I regret having upset Leah in the past and wish her only the best in the future." 

Remini has yet to comment on the apology.

During the "20/20" special, Remini also explained how she was punished for saying something to Cruise and Holmes during a social visit when Cruise was "forcibly kissing" the former "Dawson's Creek" actress.

"I said, 'Eh, get a frickin' room?' and, well, I was written up for that," Remini said.

Holmes has been very tight lipped about Scientology since leaving Cruise. But the "Mission Impossible" actor did confirm in a court deposition that Holmes left the marriage to protect Suri from Scientology.

Remini, who joined Scientology with her mother at 8, began to clash more with Scientology. Her biggest sticking point would become the disappearance of her friend and Miscavige's wife, Shelly. Remini left Scientology in July 2013. Her own daughter was also coming of age in the organization, and Remini said she didn't want that life for her.

Watch the video below:

SEE ALSO: Scientology tried to discredit Leah Remini with these 'damning claims'

MORE: This is how Scientology damages children, according to actress Leah Remini

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NOW WATCH: This Scientology documentary made HBO hire 160 lawyers — here's the trailer

It may only be a small country, but the UK is home to some of the biggest YouTubers in the world.

From superstar vloggers like Zoella, to superstar singers like Adele, there are a huge amount of Brits with millions of YouTube subscribers whose videos have been viewed — in some cases — billions of times.

These are the top 20 YouTube creators from the UK.

Methodology:Video intelligence software company Tubular Labs kindly provided the data for this ranking. The YouTube creators are ranking in order of total subscribers, but the list also includes the total number of video views they have amassed, and Tubular Labs' "influencer score."

The Tubular Labs Influencer Score measures a channel's ability to influence its audience members by looking at more than 10 different metrics including reach, engagement, channel activity, and the frequency at which the channel is updated. Scores range from 0-1,000 and are recalculated weekly from the previous 90 days of data.

SEE ALSO: Meet the 'YouTube Mafia' — the former Googlers still dominating the online video industry

20. PointlessBlog: 22-year-old Alfie Deyes has written two bestsellers.

4.6 million subscribers

310 million total views

820 influencer score

PointlessBlog is the channel from 22-year-old Alfie Deyes, who vlogs about everything from gaming, to "how to make a healthy smoothie," and collaborations with other YouTube stars.

He has released two best-selling books, featured in the Band Aid 30 "Do They Know It's Christmas?", there's a waxwork of him at Madame Tussauds, and he's currently dating another YouTube celebrity: Zoe Sugg, known as Zoella.

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19. Britain's Got Talent: A Simon Cowell creation.

4.7 million total subscribers

3.2 billion total views

665 influencer score

Britain's Got Talent is a TV talent show created by Simon Cowell that has launched stars including singer Susan Boyle and dance troupe Diversity. The winner of each series receives a cash prize and gets to perform in front of members of the British Royal Family at the Royal Variety Performance.

The Britain's Got Talent YouTube channel showcases the performances as well as behind-the-scenes footage.

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18. DanIsNotOnFire: "My name is Dan and I let you laugh about my life so you can feel better about yours."

5.2 million subscribers

429 million total views

817 influencer score

"My name is Dan and I let you laugh about my life so you can feel better about yours," says Dan Howell in the trailer for his channel DanIsNotOnFire. He shares what's on his mind, who he dislikes, and acts out comedy sketches, often with his YouTube pal Phil Lester.

The pair had a show — "Dan and Phil" — on BBC Radio 1, and Howell has continued on as a presenter on the station's The Internet Takeover show. In addition, they have released a book — "The Amazing Book Is Not On Fire" — and they had voice cameos in Disney's "Big Hero 6" movie.

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With 15 GOP candidates vying for support around the nation, celebrity endorsements are an added bonus that widens their audience — for better, and in some cases, for worse.

Businessman and reality-TV star Donald Trump is still leading in some polls, and, over the past few months, he's also earned a heap of praise from well-known entertainment figures.

Here's a list of Trump's celebrity supporters:

SEE ALSO: DONALD TRUMP: 'My father gave me a small loan of a million dollars'

Mike Tyson

The former heavyweight champion announced that he would endorse Trump while appearing on HuffPost Live on Monday. "He should be president of the United States," Tyson said. 

As for what Trump has said about immigration, Tyson said the words were "crude" and someone could work with him on the delivery of his message.

Stephen Baldwin

Baldwin, who was fired by Trump on two different seasons of "The Celebrity Apprentice," said during an interview with Don Lemon on a July episode of "CNN Tonight" that Trump would make a "great" president "because he's not a politician, and he doesn't care what anybody thinks."  

Gary Busey

The actor endorsed Trump back in 2011, even after being fired from season four of "The Celebrity Apprentice," and offered his praise for the presidential hopeful again this year. "He's a great guy. He's sharp. He's fast," he told Fox411. "He can change the country after the last eight years."  

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Have you ever wondered about the people who play dead bodies on TV?

We talked to Chuck Lamb, a 57-year-old part-time corpse actor, to find out how you get the job, what it pays, and what it's like on set.

A decade ago, Lamb — a former computer analyst — started playing dead for fun. Turns out he had a knack for it. To show off his unique hobby, in December 2005 he launched the website deadbodyguy.com, where he would post pictures of himself in different death scenarios around his house.

The site has since garnered more than 50 million views, a ton of publicity, and, most importantly, earned Lamb more than two dozen roles as a "dead guy" in films like "Thankskilling," "Horrorween," and "Stiffs."

Here's how Lamb has made a living out of playing dead:

SEE ALSO: Here's what it's REALLY like to be an embalmer

SEE ALSO: The 10 scariest jobs in America

Now 57 years old, Lamb says he started his website as a joke.

The former computer analyst for an insurance company had no idea what was to come.

While watching "Law & Order" with his wife one night, he told her, "I'd like to be in a TV show or movie just one time so I can see my name in the credits."

A few nights later he had a dream that Lennie Briscoe, the character from "Law & Order" who always looked down at the corpse of the victim and said something pithy, spoke to him. He woke his wife up and said, "I can be a dead body!"

The next day his wife started taking pictures of him in different death scenarios around the house, which he posted on his website.

"What really scared me at first was that she used to come up with different ways to kill me three times a week," Lamb says. "You start to think, well she’s liking this just a little too much."

Hillary Clinton told late-night host Stephen Colbert on Tuesday that she would not bail out banks if confronted with another crisis caused by risky behavior in the financial industry. 

When asked by the "Late Show" host Colbert whether she would allow banks to fail in the event of another financial-industry meltdown, Clinton had an unequivocal answer.

"Yes," Clinton said, nodding. "Yes, yes, yes, yes, yes, yes."

The former secretary of state qualified her answer, saying mandates included in the 2010 Dodd-Frank financial-reform package would guard against a situation like the 2008 collapse.

And in the case of a potential failure, she said the law allowed banks on the verge of collapse to quickly liquidate assets, therefore theoretically easing the damage done to the financial system.

"Under Dodd-Frank, that is what will happen because we now have stress tests," Clinton said before mentioning a proposal from her own plan to more heavily regulate Wall Street. "And I'm going to impose a risk fee on the big banks if they engage in risky behavior."

Clinton said if banks or other financial institutions became "too big to fail," she would consider pushing to break them up.

"And they have to know — what their shareholders have to know is, yes, they will fail," Clinton said. "And if they're too big to fail, then under my plan and others that have been proposed, they may have to be broken up."

Citing praise from New York Times columnist Paul Krugman, Clinton said her plan to regulate the financial industry, released earlier this month, was the most comprehensive of those offered by any candidate. She argued the plan did not just focus on major banks, instead ensuring that risky behavior perpetrated by other large sectors of the finance industry — like insurance companies — did not threaten to cause a systemic collapse. 

SEE ALSO: Here's Hillary Clinton's plan to take on Wall Street

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NOW WATCH: New dash-cam video shows officer shooting unarmed teen in drug-sting operation

There have been eight "Halloween" feature films since 1978 — discounting the two remakes — and only a handful of them are objectively any "good." What started as an independent film full of tension, suspense, and dread blossomed into a lucrative, decade-spanning franchise that has since undergone a remake and a sequel to the remake.

As the series progressed, the films moved further and further from the spirit of the original until they reached a breaking point. They got so bad that the writers of the later films literally had to un-do all the egregious errors set up by the truly terrible ones.

The history of the "Halloween" franchise is one riddled with production horror stories, differing opinions of what the films should be, and, of course, a bunch of dead teenagers.

Scroll down for a full breakdown and ranking of each film in the original, pre-Zombie-fied "Halloween" universe. For the sake of consistency, I've included the numbers in each title, even if they are not actually there.

Screenshots courtesy of Anchor Bay, Dimension, and Miramax.

SEE ALSO: The 25 best horror movies you can stream on Netflix this Halloween

8. "Halloween 6: The Curse of Michael Myers" (1995)

The theatrical cut of "Halloween: The Curse of Michael Myers" is an absolute mess.

It's a film so incredibly maimed by studio interference and sheer lack of direction that it's more a "Frankenstein"-esque project made up of bits and pieces of different movies than anything cohesive.

Its tumultuous production is no secret — Dimension allegedly wanted more gore, director Joe Chappelle wanted less Loomis, and the screenwriter wanted direct connections to previous films while also adding new details. 

The film was botched so badly the studio took on extensive reshoots, and that's the version most people know.

The "workprint" version (sometimes referred to as "Halloween 666" or the "Producer's Cut") is another beast entirely, but more on that later.

Not a single thing in "Halloween 6" makes any sense. Its historically difficult production shows through as it's clearly a movie pieced together by people who disagreed at every turn.

"The Curse of Michael Myers" is the first "Halloween" sequel to shoot in the '90s (1995, to be exact), and it shows.

Right away, the film opens with hyper-stylized, quick cuts that couldn't be further from the patient, voyeuristic tendencies of the original film's camerawork. Minimal editing and carefully plotted long takes are no longer relevant here.

The plot itself is even more absurd than the last, which is really saying something. 

The film opens with Michael's niece Jamie, now 15 years old and inexplicably pregnant, giving birth to a child, which is then promptly kidnapped by the unexplained "Man in Black" (who briefly appeared at the end of 4) and his cult.

A nurse later helps Jamie and her baby escape, and Michael of course shows up and kills the nurse. Jamie and her baby flee in a stolen pickup truck and she manages to call in to a radio station and warn Haddonfield that Michael is returning.

She is quickly impaled by Michael and killed, but not before hiding her baby in a bus station, where Tommy Doyle (Paul Rudd!), the child Laurie Strode babysat in the first film, conveniently finds it. 

Meanwhile, Dr. Loomis, now a retired recluse, hears Jamie's plea on the radio and decides to go back to Haddonfield to warn everyone, yet again.

Tommy Doyle now lives in a boarding house across the street (?!) from the Myers' home, and relatives of the Strode family now live in the Myers home for some godforsaken reason.

Tommy spends a lot of time being sad, and you know this because the film shows him staring longingly out a window. He's depressed, but worse than that, he comes off as incredibly creepy. 

He spends much of the movie investigating Myers, something he has been doing his whole life. He just wants to understand.

Meanwhile, Loomis shows up just in time in inform the Strodes that they are living in Myers' house, but at this point, the murders have already begun. It also makes zero sense that the Strodes would be so blissfully unaware, especially when Tommy himself is right across the street.

Tommy eventually learns that Michael's evil *does* have an explanation! According to this movie, Myers was afflicted with the curse of Thorn by a druid-inspired cult.

This entire idea is so absurd I'll let the film's Wikipedia explain:

Thorn is an ancient Druid symbol that represented a demon that spread sickness and caused destruction. To prevent this, one child from each tribe was chosen to bear the curse of Thorn to offer a blood sacrifice of its next of kin on the night of Samhain (Halloween). When the corresponding Thorn constellation appears, Michael appears.

While Tommy and the Strodes are out discovering all this, Michael kills some folks, and the "Man in Black" cult leader is revealed to be Dr. Wynn, the chief administrator of Smith's Grove, the facility in which Michael was incarcerated for most of his life.

The cult's motives? To replicate evil. They believe Michael (and his relatives) possess the desired "evil" genes, and they want to harness this. For what, god only knows. They see Jamie's baby as an opportunity to usher in a new era of evil ... or something.

Once Michael kills a bunch of cult members, he chases Tommy and the remaining Strodes around Smith's Grove, but Tommy eventually "kills" him by injecting him with something corrosive and beating him with a lead pipe.

When Loomis goes to deal with Michael's body, all that's left is his mask.

Did you follow all that? Me neither.

In this movie, every single element is more convoluted than the last, and the entire concept is fundamentally flawed.

The title itself, "The Curse of Michael Myers," is inherently problematic — there doesn't need to be a curse to make Michael a scary figure!

The filmmakers here are attempting to inject some sort of supernatural explanation for Michael's desire to kill.

Michael has always been a mysterious figure, and the origin of his "evil" has been alluded to repeatedly throughout the series, but never flat out explained.

Loomis is usually the one delivering the "he's not human, he's the boogeyman" rhetoric, and he gets systematically ignored as the bodies pile up film after film

Additionally, the convenience of the writing repeatedly showcases how incredibly lazy the film is. For example, Tommy only finds the baby because that's what his character needs to do, and Loomis only hears Jamie's radio plea as it serves the narrative to bring him to Haddonfield.

But I digress. "Halloween 6" proves that questions about Michael Myers supernatural abilities are best left unanswered.  

Back to the producer's cut — even though this version consists of 43 minutes of altered footage, it's still a thoroughly terrible movie.

There are tons of minor differences, but the biggest takeaway is that the producer's cut features about double the Loomis and goes into even more detail on the awful cult stuff. 

The most shocking thing about the producer's cut is that it reveals Michael himself is the father of Jamie's weird cult baby.

Yes, in this universe, Uncle Michael had sex with 15-year-old niece Jamie and procreated. It's no surprise this was left on the cutting-room floor.

The ending is also a little different — instead of Loomis just finding Michael's mask on the ground, he finds Michael on the ground, laying dead.

Except it's not Michael — it's Dr. Wynn! He donned the mask, which allowed Michael to escape wearing Wynn's cult garb. Wynn then transfers his "mark of Thorn" to Loomis, the idea being that now Loomis is the cult leader in charge of Michael?

No matter how you spin it, both versions of "Halloween 6" are varying levels of atrocious.

7. "Halloween 5: The Revenge of Michael Myers" (1989)

If "Halloween 4" was a step in the wrong direction, "Halloween 5" is a full on sprint. 

The film opens right where "4" left off, as Myers inevitably cheats death yet again after the firing-squad assault. He literally crawls into a river as the "Halloween" theme plays. 

We abruptly cut to a year later, and Jamie, who was set up to be the killer at the end of the last movie, is now just mentally disturbed and living in some sort of home for deranged children. 

She now has quite the reputation amongst the townspeople, and they welcome her by tossing rocks through her window that say things like "the evil child must die." 

In "Halloween 5," Jamie inexplicably develops a psychic connection to Michael. She can sense when his future victims are in danger. 

Unfortunately, this gift doesn't quite save Rachel, her foster-sister, as she is killed fairly early on. The buck then gets passed to Tina, her annoying, random friend, and we watch her and her friends suffer at the hands of Michael.  

For a film whose title touts "Revenge," Michael sure spends a hell of a lot of time senselessly murdering kids that have nothing to do with him. I guess he's easily distracted.

He actually spends most of the movie's runtime behind the wheel of his car, which is a bizarre sight.

By the end of the film, a wild-eyed Loomis uses Jamie as bait to lure Michael into his childhood home, where Loomis then tranquilizes him and beats him with a 2x4 until he literally has a stroke.
 

"Halloween 5" ends with Michael locked up in the sheriff's station ... that is, until a stranger (a "Man in Black") shows up, kills the cops, and sets him free. 

Will this masked man play a role in "Halloween 6"? Yes, but he probably shouldn't have.

6. "Halloween 4: The Return of Michael Myers" (1988)

"Halloween 4" was the beginning of a serious rough patch for the franchise.

After backlash from fans following the release of the Michael Myers-less "Season of the Witch," the studio caved and gave people what they want — "The Return of Michael Myers."

The film is notable for introducing Jamie (Danielle Harris), Michael's niece and Laurie Strode's daughter, but it's best known for considerably lowering the bar for the series. 

From the very beginning, "Halloween 4" just doesn't compare to what came before. It starts on shaky ground and never moves past it. The plot is entirely dependent on dumb people doing dumb things to drive its narrative. 

The opening sequence involves Michael being transferred to a sanitarium without Loomis' consent. On October 30. 

It's been 10 years since the events of the first two films, and Michael has been in a coma ever since.  

Michael awakens as soon as the paramedics mention that he has a niece, immediately kills them both, and makes his way back to Haddonfield to find and kill her, as well as whoever else gets in his way. You know the drill. 

While the return to familiar territory is welcome, the film is more often a boring retread of the original film than any sort of improvement on it. The impressive direction and focus on suspense and anticipation has gone entirely out the window.

"Halloween 4" relies way too heavily on narrative convenience and coincidence. Major plot details hinge on trivial meetings between characters, like the fact that Michael just so happens to run into Loomis at a gas station before heading to Haddonfield.   

The characters in "Halloween II" were certainly dumb, but the sheer stupidity on display in "Halloween 4" is shocking, and every decision every character makes is a bad one. Who thought it'd be a good idea to transfer Michael on the 10th anniversary of his massacre?!

Jamie, Michael's niece and the film's protagonist, is terrorized by her classmates for her relation to Myers (shouldn't they be horrified?!) and also haunted by nightmares and visions of The Shape himself. 

Jamie has been taken in by a foster family, and is mostly left in the care of her foster sister Rachel to babysit, because nothing bad has ever happened to a Strode while babysitting.

There's a lot of unnecessary character detail here, including a subplot revolving around the fact that Rachel's boyfriend is a sleazeball whose sleeping with her good friend, who also just so happens to be the Sheriff's daughter.

These transgressions are, of course, swiftly punished by Myers, so I guess it's fine.

When Loomis informs the Haddonfield police that Michael has returned, it's not long before an angry mob is formed and they go on the hunt for Michael. At one point they actually kill an innocent person, as it's Halloween and masked men are everywhere.

The ending is pretty ridiculous, and the producers must have known it, because "Halloween 5" ditches its implications entirely. 

After Michael is shot at by the Haddonfield firing squad, Jamie touches his body, and we are to assume she inherited some of his "evil," as the final shot of the movie is Jamie brandishing scissors after stabbing her own stepmother.

"Halloween 4" was clearly an attempt to usher in a new era of Myers-focused "Halloween" films, and while it did just that, the next two sequels are arguably even worse. 

Leah Remini's revelations about her life in Scientology earned ABC's "20/20" its highest ratings this season.

The magazine show was viewed by 8.2 million viewers and earned a 1.7 rating in the advertiser-coveted 18- to 49-year-old audience in the 10 p.m. time slot, according to an ABC release.

Those numbers represent a humongous 58% increase in total viewers and a 42% increase in the ad demographic versus the previous week's 5.1 million viewers and 1.2 rating.

These are the highest ratings for "20/20" since the Bruce Jenner interview in April, which attracted 16.9 million viewers and earned a 5.2 rating.

ABC News' Dan Harris interviewed Remini on Friday's special, in which she detailed her experiences as a former member of the Church of Scientology. She also explained how she became increasingly uncomfortable about the group's most famous member, Tom Cruise, and how she was allegedly punished for speaking out.

SEE ALSO: This is why Katie Holmes owed Leah Remini an apology

MORE: Scientology tried to discredit Leah Remini with these 'damning claims'

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Billionaire investor Chris Sacca made his "Shark Tank" debut Friday night in the sixth episode of season 7, splitting a deal with Mark Cuban and duking it out with Lori Greiner, all in his signature tacky cowboy shirt.

It was easy to imagine him as a permanent member of the cast, and it's why the show's producers should consider adding him as the seventh Shark next season.

It would give Sacca a platform to raise awareness of his deals and make new ones outside of the insular world of Silicon Valley, and give the show a fresh face who fits in perfectly with its progression toward bigger deals and savvier entrepreneurs.

Sacca left his job as head of special initiatives at Google in 2007 and became a successful angel investor before starting his venture capital firm Lowercase Capital.

He founded Lowercase on the philosophy that he and his partners would only invest in companies they truly believed in and would work closely with.

With early stage investments in companies like Twitter, Uber, and Instagram, Sacca and his partners got rich and became some of the most renowned investors in Silicon Valley.

At a Halloween party last year, Sacca ran into Clay Newbill, one of the "Shark Tank" executive producers. Sacca told Newbill he understood the show's appeal but wouldn't want to participate. It seemed like a watered down version of his real job, and featured too many goofy ideas for him to take it seriously.

Newbill proposed having Sacca meet with showrunner Mark Burnett and the production team — as well as Sony executives responsible for the show — to discuss ways to make it better.

Sacca told Business Insider that he was so impressed with their conversations that he agreed to film an episode as a guest Shark. The producers liked what they saw and invited him back to shoot a few more, which is what happened with Cuban in season 2, before Cuban joined full-time the next year.

And in the same way that the full-time addition of Cuban in season 3 and Greiner in season 4 added new life and another dimension of expertise to the show, the addition of Sacca could help it evolve to the next stage.

Sacca can't be faulted for once considering "Shark Tank" to be like a "dime-store version" of the investment world, as he wrote in a blog post, because the show did once rely on companies that were either quite small or objectively ridiculous.

Season 1, for example, featured both a man wanting to start implanting Bluetooth ear pieces into people's ear canals as well as a woman who invented a way to store more Post-It notes on your laptop screen.

But like the startups it features, "Shark Tank" had to start small and grow up. The latest episode is actually a perfect example of how far the show has come:

The deal Sacca lost to Greiner was for a piece of a STEM (Science, Technology, Engineering, Mathematics) learning center for children that was founded by two sisters, Lavanya and Melissa Jawaharlal. 

Sacca told us the two women "were some of the best pitchers I have ever seen anywhere ... I would have hired them on the spot for any job in [Lowercase Capital's] portfolio."

And Sacca says he's very excited about the deal he and Cuban partnered up on — a 10% equity split for Rent Like A Champion in exchange for a $200,000 investment.

The company is essentially Airbnb for college towns that host large sporting events. The company has done $6.1 million in total sales in the past five years. It was a "no-brainer" deal for Sacca, who infamously missed out on an early investment in Airbnb. "That's been super fun and they've continued to grow like a weed."

Sacca said on Twitter after the show that he's made more deals on "Shark Tank" that will be featured in future episodes, and that all of them have closed after due diligence.

Sacca said that back when he had a snarky view of the show, he imagined his peers in Silicon Valley and Wall Street would share it, and then later expected them to roll their eyes when he told them he was going to appear on it. But instead, he found that plenty of big-time investors he knows are fans of the show and have been very supportive of his decision to appear in a few episodes this season.

He told us that he's certainly open to filming more episodes if the producers asked him.

"'Shark Tank' takes me back to all of the reasons of why I got into this business in the first place," he said. "There's none of the politics of the late-stage deals. Instead it's just entrepreneurs, their product, and seeing if they can make something that people are really going to use and want. And that's thrilling for me."

SEE ALSO: 'Shark Tank' guest investor Chris Sacca used to think the show was a 'dime-store version' of real investing

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Gaspar Noe ("Irreversible," "Enter the Void"), an Argentinian filmmaker based in France, isn't as provocative or insightful as he thinks he is. 

His latest pretentious opus is called "Love," although there's very little of that on display.

The film is less concerned with the feeling itself and more focused on the physical act. The advertising for the film has really honed in on the "NSFW," edgy angle, and the entire selling point of the movie is sex. In 3D!

If that sounds more like a gimmick than anything artful, that's because it absolutely is. It's incredibly strange to see hardcore sex on the big screen, especially in the third dimension, but what's the point? 

If the film surrounding these moments is entirely hollow, these scenes become superfluous and don't really add anything to the narrative.

And there's not much of a narrative to begin with. The film throws you right in the thick of it, as the opening scene features a couple in bed pleasuring one another. To completion.

The camera is stationary as the act goes on and on until its logical climax. No camera tricks, edits, or awkward angles. Just sex, right in front of your nose.

This scene is revealed to be a dream, and we learn that Murphy (an American man in France) still has serious feelings for his ex-girlfriend, Electra, the woman from the dream. 

In reality, Murphy is currently dating a woman named Omi, and they have a baby together. Murphy's stream-of-consciousness narration plays over the visuals, so there are no secrets between him and the audience. 

Murphy's internal monologue doesn't sugarcoat anything. He is only with Omi because they have a child together (that was conceived accidentally, of course) and he doesn't have a better option. 

The biggest problem with "Love" is that its protagonist is, in a word, insufferable. Murphy is young, dumb, and full of false wisdom. He's an aspiring filmmaker, and we know this because he has posters for "Birth of a Nation" and "Salo" in his apartment and won't shut up about how inspiring he finds "2001: A Space Odyssey."

Murphy feels very much like a conduit for Gaspar himself, as the writer/director can't help but repeatedly inject his own autobiographical catharsis into the film. When Murphy and Omi are discussing baby names, Murphy wants to name him Gaspar. Later, the name Noe also comes into play.

The audience I saw it with laughed uproariously (at it, not with it) both times. This is actually quite fitting, as I tend to find the director's work to be just as dense and intolerable as his protagonist.

There's a case to be made that Murphy being a total moron is the entire point — we've all been young and naive — but Gaspar plays him entirely straight.

In most movies, when a character drones on and on about his unfounded ambitions, the filmmakers are in on the gag. This guy's a joke, look at him making an ass of himself!  

I thought maybe I was having trouble separating the character of Murphy from Gaspar himself at first. Any doubt I had fell away when Murphy literally explained the concept of the very movie we are watching. He talks about wanting to make a movie that focuses on love, but told raw, via hardcore sex. Give me a break, Gaspar!

The sex scenes themselves, which are really the focal point according to every piece of press material, get the job done. There's an extended threesome sequence that is undeniably alluring, and Gaspar shoots it in such a way that it never gets boring.   

The problem is we never really care about Murphy or the women he beds, so there's no real emotional connection to be had. No matter how raw or real the sex scene is, if we don't care about the characters, it's all for naught. 

The 3D gimmick is amusing for a while, but it doesn't take long for it to lose its luster. By the time Gaspar literally cuts to an erect penis ejaculating on the audience, it's clear the film's use of 3D is focused more on amusement than immersion.

"Love" is a pretty awful title for the film, as nothing on display here can or should be construed as love. There's sex, bickering, hopelessness, self-indulgence and ignorance, but never love. Maybe one of those words would have worked better. 

Watch the trailer (don't worry, no nudity or actual sex):

"Love," which is unrated, opens in limited release Friday, October 30.

SEE ALSO: The less you know before seeing 'Room,' the better

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November means all manner of relaxing outdoor activities — beer gardens, botanic gardens — are out. Time to hop on the couch and do nothing except entertain yourself with nearly limitless streaming options.

Standouts coming to your favorite streaming services in November include “Ant-Man,” "Mission Impossible — Rogue Nation,” the first season of “Ballers,” and a whole bunch of classic James Bond movies.

All the new movie and TV titles are below:

iTunes

Available November 3

“Tangerine”

Available November 10

“American Ultra”

Available November 17

“Ant-Man”
“Mission: Impossible - Rogue Nation”
“Fantastic Four”
“The Stanford Prison Experiment”
“Sinister 2”

Amazon Prime

Available November 1

“Desk Set”
“The Enemy Below”
“The Craft”
“Adam Sandler’s Eight Crazy Nights”
“The Newton Boys”

Available November 2

“Ballers” (Season 1)
“Inside Comedy” (Season 4)
“7 Deadly Sins” (Season 1)
“Legends” (Season 2)

Available November 5

“Tell”
“Awakenings”
“The Adventures of Milo and Otis”
“The Mask of Zorro”
“Seven Years In Tibet”
“The Imaginarium of Doctor Parnassus”

Available November 6

“Elementary” (Season 4)

Available November 7

“True Detective” (Season 2)
“The Yes Men Are Revolting”

Available November 10

“Wolf Hall”

Available November 14

“Ex Machina”

Available November 17

“Mission: Impossible - Rogue Nation”

Available November 18

“Mr. Selfridge” (Season 3)

Available November 19

“Vikings” (Season 3)

Available November 20

“Man in the High Castle” (Season 1)

Available November 21

“Only God Forgives”

Available November 22 

“Teen Wolf”

Available November 24

“Ricky & The Flash”

Available November 26

“Kate & Leopold”

Available November 28

“Falling Skies” (Season 5)
“Top Five”

HULU

Available November 1

“Diamonds Are Forever”
“For Your Eyes Only”
“From Russia With Love”
“Goldfinger”
“License to Kill”
“Live and Let Die”
“The Living Daylights”
“Man With The Golden Gun”
“Moonraker”
“Never Say Never Again”
“Octopussy”
“On Her Majesty's Secret Service”
“The Spy Who Loved Me”
“Thunderball”
“A View to a Kill”
“Adventures In Babysitting”
“Another Stakeout”
“Arachnophobia”
“Beloved”
“Celtic Pride”
“Cocktail”
“Cool Runnings”
“Crazy/Beautiful”
“Dangerous Minds”
“Delivery Man”
“Dick Tracy”
“Evita”
“Grosse Pointe Blank”
“Honey, I Shrunk The Kids”
“Judge Dredd”
“Keeping Up With The Steins”
“Let Us Prey”
“Mighty Joe Young”
“Mindhunters”
“Need For Speed”
“The Other End of the Line”
“Out of Sight”
“Play It to the Bone”
“Rushmore”
“Ruthless People”
“Scar Tissue”
“Stakeout”
“Superstar”
“The Jackal”
“Three Men And A Baby”
“Turner & Hooch”
“Waterworld”
“What About Bob?”
“Zoolander”

Available November 2

“Around the World in 80 Days”

HBO NOW

Available November 1

“Battle for the Planet of the Apes”
“Beneath the Planet of the Apes”
“Don’t Say a Word”
“Double Jeopardy”
“Dreamgirls”
“Fantastic Four: Rise of the Silver Surfer”
“Field of Dreams”
“Good Burger”
“Once”
“Planet of the Apes (1968)
“Project Greenlight” (Season Finale)
“Ride Along”
“Satisfaction”
“Scream”
“The Last King of Scotland”
“The Thomas Crown Affair”
“The Waterboy”
“Throw Momma from the Train”

Available November 2

“The Diplomat”
“The Leisure Class”

Available November 3

“Kareem: Minority of One”

Available November 7

“Unfinished Business”

Available November 8

“Getting On” (Season 3 Premiere)

Available November 14

“Run All Night”
“U2: iNNOCENCE + eXPERIENCE Tour”

Available November 21

“Fifty Shades of Grey”
“Real Time with Bill Maher” (Fall Finale)

Available November 23

"Last Week Tonight with John Oliver" (Fall Finale)

Available November 28

“Kingsman: The Secret Service”

Redbox

Available November 3

“Inside Out”
“San Andreas”
“Magic Mike XXL”
“The Gift”
“She's Funny That Way”
“The End of the Tour”
“Me and Earl and the Dying Girl”
“The Final Girl”
“Digging For Fire”
“Toy Story That Time Forgot”

Available November 10

“Terminator: Genisys”
“Gallows”
“Dope”
“Mr. Holmes”
“Pay the Ghost”

Available November 17

“Jurassic World”
“Paper Towns”
“The Exorcism of Molly Hartley”

Available November 24

“Vacation”
“Ricki And The Flash”
“American Ultra”
“No Escape”
“Shaun the Sheep Movie”
“Max”
“Santa's Little Helper”

SEE ALSO: Here's everything leaving Netflix in November

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Happy Halloween!

It's the perfect time to try to find ways to make your hair stand on end. 

As Google has tirelessly documented the world through Street View, it has collected a bunch of freaky spots with scary histories or modern horrors. 

Here are some of the spookiest places you can explore:

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Welcome to Bran Castle in Transylvania, Romania, known as "Dracula's Castle" because it matches the description in the classic legend by Bram Stoker.

Check out the castle's website. 

Stoker published his Gothic horror novel in 1897, but visitors to the castle can still pay homage to the bloodsucker.

You can also visit Isla de las Muñecas — the Island of the Dolls in Xochimilco, Mexico — where hundreds of decrepit toys hang from trees to commemorate a young girl's tragic death in the surrounding waters.

Today Jeremy Renner is one of Hollywood's most sought-after actors, starring in big action franchises like “The Avengers” and “Mission: Impossible.” But like many actors, he started his career broke.

And he found an unusual way to keep a roof over his head while trying to launch his career.

Renner and his family friend, Kristoffer Winters, began renovating houses in Los Angeles in 2002 and would live in them. At the time, Renner had a few TV guest spots under his belt, but wasn’t earning enough to get a swanky house in the Hollywood Hills.

“We pulled our money together and bought a house and fixed it up a little bit,” Renner told Business Insider at an event held by Rémy Martin Cognac to promote its ad campaign with the actor.

Renner said the initial intention wasn’t to sell the house, just to make it livable for the two of them, like adding another bathroom so they didn’t have to fight over the one.

“Then someone offered us almost twice what we paid for it, so we took the money and bought another house and kept doing it and doing it,” Renner said.

In a 2012 Esquire story, Renner said he and his friend bought a mid-century house for $659,000 and sold it for $900,000.

The two have worked on 16 houses since then. Renner said their focus is updating houses around LA, many of which haven’t been touched since the 1920s, and give them a modern feel. “Open a few walls, widen doorways, and still keeping the integrity of the house."

Renner and Winters have gotten so good at flipping houses that they’ve made some impressive bank doing it. Their latest flip in 2013, an Art Deco mansion that they bought in 2007 for $7 million, sold for a reported $24 million.

Winters now has a design firm. 

Here’s a look at their handy work:

But Renner said their success has only arrived in the last few years. Before that, he and Winters were living in bare conditions inside the houses. It got rough.

“We would live in these structures that we were renovating, but there would be no electricity or plumbing. We'd be lighting a fire pit to stay warm,” Renner said. “When ‘The Hurt Locker’ was coming out and I was going to the Academy Awards for it, I would be at Starbucks brushing my teeth and washing up because we didn’t have any running water.”

Renner doesn’t regret doing any of it. At the time, he didn’t have a child and could live a bohemian life.

“I enjoyed the process of doing it,” he explained. “I thought, ‘What the hell, I still have a roof over my head that I invested in.' But I don’t recommend people doing it. It’s very trying.”

That passion for house renovation is now highlighted in his first commercial for Rémy Martin, which you can watch below.

SEE ALSO: Jeremy Renner says it's 'not my job' to help female co-stars negotiate higher salaries

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You can't escape Drake's "Hotline Bling." It's everywhere.

The Internet has been overrun with user-generated memes, Vine remixes, and GIFs spawned from Drake's dad-like dance moves since the release of the music video October 22. But for ever longer, since Drake put out the earmworm-y song in late July, artists have been covering it in recorded and live performances. 

Here are the eight best renditions of Drake's hit song not by Drake:

SEE ALSO: The 32 best Vine remixes to Drake's new 'Hotline Bling' video

Sam Smith and Disclosure

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How the cover happened: Disclosure and Smith united in BBC Radio 1's "Live Lounge" to perform and pulled off this version of "Hotline Bling." 

Why it works: Disclosure's signature electronic rendition of the beat paired with Sam Smith's vocals is a match made in heaven. It makes you want to invent your own meme-worthy dance moves (not necessarily that you should).

Erykah Badu

RAW Embed

How the cover happened: Earlier this month, Badu dropped a seven-minute remix of "Hotline Bling" on Soundcloud, which will be released on her upcoming mixtape, "BUT U CAINT USE MY PHONE."  

Why it works: Rather than just cover the song, Badu worked with musicians to recreate the song with a new intro, spoken interlude, and instrumental breakdowns. 

Yuna

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How the cover happened: Earlier this month, Malaysian singer Yuna released covers of two popular songs on YouTube: "Hotline Bling" and Justin Bieber's "What Do You Mean?" 

Why it works: Unless you focus on the lyrics, it's hard to believe that this slow, whispery rendition is a cover of "Hotline Bling." It's oddly comforting.

Google Fiber earlier this week experienced an unfortunately-timed service outage in Kansas City — right as the city's home team Kansas City Royals were facing off against the New York Mets in Game 1 of the World Series.

Fox, the network hosting the event, claims some responsibility for the events: The company posted a statement Tuesday night confirming a "rare electronics failure" that knocked out power in its truck. The Fox broadcast experienced numerous other technical difficulties.

But Google also claimed responsibility for its part. The company apologized in a tweet and released a statement to Wired:

On Tuesday night, some Google Fiber customers in Kansas City experienced a service outage. With the World Series playing, we know this was an important night for Kansas Citians, and we're sorry for the interruption. our team worked quickly to fix the issue, restoring service for most people within the hour. All service was restored by 10:15 p.m. local time.

And then the company went one step further: On Wednesday night, Google emailed apology letters to every single Google Fiber customer in its Kansas City market. Tyler Thompson, a Google Fiber customer, posted the apology letter on the PCMech blog— in short, it was a sincerely-worded letter from Google Fiber's head of business operations that promised "two days of service credited your next monthly bill."

Here's the full apology letter:

I just wanted to reach out to say how much we regret yesterday’s service outage. It occurred at an important moment for Kansas City: Game 1 of the World Series.

Many people on our local team are from Kansas City, and we love our Royals. We let you down, and we let our community down. We will do better.

Our first priority was to get you back online as quickly as possible. And we’re taking immediate steps to ensure this type of issue doesn’t happen again. We know you put your trust in us to be there when you need us.

Although we can’t bring back the moments you missed, we would like to offer you two days of service credited to your next monthly bill.

If you have questions, please contact our support team.

Kelly Carnago


Head of Google Fiber Business Operations, Kansas City

This is a great example of excellent customer service from Google — something we'd love to see more of from other internet service providers. (We don't need to go into the process it can take to convince a traditional cable company to give you credit for an outage). 

Google's approach to this service issue also extends to its other new wireless service project, Project Fi, where you only pay for the data you actually use (on top of the flat $20/month rate). It looks like the company is applying this philosophy to Fiber, which is great for customers in those lucky markets.

Join the conversation about this story »

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When networks order another season of a TV show after one, two, or even no episodes have aired, they're taking a risk. Yet it's become a surprisingly popular practice recently.

Starz, for example, just renewed "Ash vs Evil Dead" for a second season ahead of the series' premiere. The pay network is probably hoping that the renewal will be seen as a vote of confidence for the show based on cult favorite "Evil Dead," and that viewers will tune in as a result. With the premiere coming up this weekend, its also seems like a last-minute (and free) marketing push.

And surely the network's executives are hoping that the decision won't come back to haunt them later. Because sometimes, it does. Anyone remember Fox's multiple-season renewal for "Glee"?

Here's what networks are really saying when they give early renewals:

SEE ALSO: CBS hopes 'Supergirl' can bring it younger viewers

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Don't be afraid to watch our new show! Look, it will be back next year!

There is a huge mistrust of TV networks currently. Once upon a time, shows were given more time to find their legs. How many times have you gotten into a new show only for it to suddenly be canceled?

Networks know that fans feel burned and are wary of adopting new shows, especially ones that have big storylines at their core. So, networks will give a show an early renewal in order to give viewers some security about getting into it.

"They could be sending out a message that, hey, we think this is a hit show, and this is worth our investment," Horizon Media's senior vice president of research, Brad Adgate, told Adweek. "You should watch this show because other people are watching it."

We have a very expensive production-related reason for locking this show down for another season.

Ratings are central to renewal decisions, but so are production costs and contracts.

On Tuesday, HBO took back the season 2 renewal it previously gave to "The Brink." Back in July, it renewed the comedy just a day shy of the cast's contracts to return expired and just five episodes in. The Jack Black-Tim Robbins comedy had just reached a respectful 1.06 million viewers.

Other productions may find that the costs of building an elaborate set or the need to create specific machines or technology will only be recuperated if used over several seasons. Of course, if the show is tanking, then it'll be canceled no matter the price (see: Fox's "Utopia").

Sure, no one's watching it live but it's doing really well online, On Demand, and elsewhere.

After just five episodes, Lifetime renewed its scripted "Bachelor" parody, "Unreal." The show wasn't even close to matching what "Devious Maids" rated in the same time slot, but its first three episodes would end up picking up 4.1 million viewers in delayed viewing across all platforms. It also didn't hurt that "Unreal" was Lifetime's youngest-skewing show.

With Halloween landing on a Saturday this year, most of the studios took the weekend to fill their pockets with the treats of past weekend releases.

The ones who took on the holiday were "Burnt," starring Bradley Cooper as an edgy chef trying to return to elite status, and Sandra Bullock in "Our Brand Is Crisis," playing a political strategist who attempts to get a Bolivian president reelected.

The Friday numbers gave a glimpse at the horror both films would suffer, as "Burnt" only took in $1.8 million in 3,003 theaters and "Crisis" earned $1.1 million in 2,202 theaters, according to Deadline. That gives them an estimated weekend total of $5.04 million and $3.43 million, respectively.

The weekend opening for "Our Brand Is Crisis," which was produced by George Clooney, marks the worst nationwide release for Bullock of her career.

Also new out this weekend was Paramount's "Scouts Guide to the Zombie Apocalypse." But folks decided to walk around as the undead than see them on screen, as the film only took in an estimated $1.8 million over the weekend, according to The Hollywood Reporter.

With the new releases flatlining, it opened the door for former weekend champ "The Martian" to come back to earn the No. 1 spot this weekend with an estimated $10 million to $11 million, according to THR.

The Ridley Scott sci-fi crowd pleaser starring Matt Damon as an astronaut stranded on Mars has earned the top spot at the weekend box office four out of the five weekends it's been in theaters.

SEE ALSO: 27 movies you have to see this holiday season

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