It seems that Kanye West has changed his tune after all.

After claiming that "The Life of Pablo" would be a Tidal exclusive, an updated version of West's infamous song "Famous" has landed on both Spotify and Apple Music. The song made waves for referencing Taylor Swift and saying, "I made that b---- famous."

In February, West sent out a tweet that said, "My album will never never never be on Apple. And it will never be for sale... You can only get it on Tidal."

He has yet to comment on this apparent change of heart or whether the whole album will eventually make it on other streaming services, but "Famous" is there for now. 

You can listen here on Apple Music and stream below on Spotify.

SEE ALSO: 20 actors who completely transformed themselves into music legends

Join the conversation about this story »

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Most people have heard about the Oculus Rift and the hype surrounding the rise of virtual reality by now, but few people have yet to actually experience the jaw-dropping magic of high-end VR. On Monday, the highly-anticipated Oculus Rift launched, and with it, the next chapter of entertainment and art was ushered in.

After using the Rift on and off for the last week, it's clear that this is the virtual reality experience we've been waiting for. Armed with Facebook's war chest of funding and the smartest minds in the VR industry, the Oculus team has crafted the best tool for escapism since the television and internet were born.

The Oculus team has crafted the best tool for escapism since the television and internet were born.

It's a powerful thing, the ability to seemingly leave your body behind and climb into a game world or film where you find yourself experiencing a new form of storytelling, one where your room melts away and is replaced with something so seemingly tangible that it tricks your brain into believing it's close enough to reach out and touch. After pulling the goggles over your eyes and staring around in every direction, it's hard not to feel like Lucy Pevensie stepping from wooden wardrobe into the fantastical lands of Narnia, or Harry Potter disappearing through Platform 9 ^3/4, or Neo plugging into The Matrix for the first time.

The ability to teleport into the creative works of game developers and filmmakers and artists is nothing to take lightly — this is culture-shaping technology with huge implications for the future. I don't think even the folks at Oculus know what the virtual reality landscape is going to look like a decade from now, once the creatives of the world get their hands dirty with the device and begin to push the boundaries of the art form.

After getting a taste of what the launch catalog of experiences offer, all I can say is that we're off to a fantastic start.

The Rift itself

Unlike many latecomers to virtual reality, the Oculus team has had years to fine-tune the design and ergonomics of the Rift headset itself, and it shows in the overall hardware design and experience of using it. Clad in sleek fabric, the Rift goggles feel lightweight and polished, a huge improvement over the developer kits that it evolved from.

The box itself acts as a nice carrying case. For $600, you get the Rift headset, an infrared camera, wireless remote, wireless Xbox One controller, and "Lucky's Tale," a made-for-VR game that's like a mixture of "Super Mario Galaxy" and "Crash Bandicoot." While you can use your own headphones if you want, you probably won't, as the attached headphones don't add much to the overall weight while upping the immersion levels with their support of three-dimensional sound design within games and movies.

Setup and calibration is a breeze, and the step-by-step instructions are easy enough to follow and only require you to plug in four cables. The setup client will even let you know if you're plugging things into the right ports. The rest of the calibrating process is done within virtual reality, where you'll stare at a green crosshair and tweak a dial until it's crystal clear, indicating that you've dialed-in the lenses to match the exact distance between your eyes.

Calibration is key to a stunning first time in VR, and a potential pain point if ignored, but Oculus thankfully makes it easy.

You'll need a beefy computer to power the Rift, and that means an all-in cost of somewhere between $1400 - $1500. That price tag is undoubtedly the biggest thing keeping more people from getting the chance to try virtual reality how it's intended to be experienced. But like the first color televisions, computers, or iPhone, the cost of the headset and necessary computer will only go down over time before converging with mobile around a decade from now. With the Rift's stellar design and top-notch technology hiding beneath the faceplate, Oculus is ensuring that early adopters will be able to show curious newcomers an experience that's uncompromising in its pursuit of virtual reality's holy grail — "presence" — that sliding-scale measurement of how fully fooled your brain is into believing you're somewhere you're not. The higher the presence the better.

Lots of factors go into achieving high levels of "presence," and Rift utilizes many of these — high-end optics, precise sensors, two made-for-VR displays — before combining them with a library of content that rivals most game console launches.

By nailing the necessary technology and comfortable design with the Rift, you're free to dive into the many worlds that the Oculus Store offers, and that's where the real feeling of wonder begins to kick in.

Virtual reality games: Explorable worlds where fear and wonder come alive

It's easy to become jaded with modern-day video games and movies. Most of the time we already know what to expect, but that goes out the window with virtual reality. The stakes are immediately raised when you move from observing the action through the border of the TV screen and into the action itself. You're no longer able to look away from the screen when things get tense as you might in a theater; you're literally in it now, surrounded on all sides.

Everything feels like it means more: there's a heightened connection to characters, both in games and short films, and the action carries weight. 

One of the best demonstrations of presence and what compelling VR is really like is found in the space dogfighting game "Eve: Valkyrie," which puts you in the cockpit of a spaceship as you shoot through a launch tunnel and into the frantic madness that is a space battle.

There's a somewhat shallow multiplayer campaign, but it's the online multiplayer dogfights that most people will spend their time in, and the fact that you play the entire game from the cockpit of a space fighter anchors the experience and helps you avoid any motion sickness.

Turning around in your seat and watching an enemy fighter scream overhead immediately causes you tense up, and flying through the wreckage of a mid-air collision feels exhilarating, like something straight out of "Star Wars."

"Eve: Valkyrie" is another game built for the ground up for VR, and it shows — there's no annoying menu up in your face as you try to play, everything is off in your peripherals for the most part, tucked away into the design of the cockpit itself until you need it. When you do, you just stare down as you would at the dashboard of a car before returning your eyes to the road, which in this case is usually an asteroid belt or floating space station teeming with things far more interesting to look at through the glass canopy of your ship.

The beautiful thing is this heightened sense of everything doesn't just magnify the thrill of combat, it also holds true for games that favor imagination and wonder over tense action. Things slow down as you take in the sheer spectacle of the ethereal floating buildings in "Windlands," an exploration game where you must leap across chasms and swing between tree branches with the aid of grappling hooks.

There's a whole camp out there that believes simple exploration of beautifully detailed worlds is going to be the killer feature of VR, and it's a tough position to argue against.

While it's not quite flying — you'll need to wait for upcoming games like Ubisoft's "Eagle Flight" later this year to truly transform into a bird — "Windlands" demonstrates how fun simply jumping from platform to platform can be in virtual reality. With a lava-like ground you must avoid, falling to your death in VR is an unsettling thing, and I often found myself closing my eyes or immediately respawning to avoid the inevitable collision. But if you survive, the final ascent and reward of looking out over the floating trail you just conquered is a delightful thing, something that made me better realize the draw that causes adrenaline junkies to summit mountains like Everest. The view from the top is invigorating, and all the more sweet when the path to it was difficult, puzzle-like.

Because of the newfound appreciation for the true scale of things that immediately becomes evident within virtual reality, exploration-oriented games thrive.

Another great example of this on a more minute scale is "Lucky's Tale," the platformer that comes bundled with every Rift.

Created by Oculus' in-house game studio, Playful, "Lucky's Tale" proves exploration can be fun while controlling a character in third-person. Built from the ground up for virtual reality, the game hardly features a user interface at all (can you sense a trend?). Your health is only visible in tiny hearts that float above the body of Lucky the fox when he's hurt, and likewise your in-game coin count is displayed through a tiny number engraved upon each subsequent coin you collect (get a 100 and you'll unlock another life).

"Lucky's Tale" is one of the best games out for VR right now, there's a reason Oculus decided to bundle it with every Rift. The game's premise is one of wide-eyed wonderment and delight, and it's only stressful if you consider the enemies in Mario games something to be nervous about.

A master class in detailed scene design, each level of "Lucky's Tale" is jammed packed with colorful detail. And since the gameplay is tailored to take advantage of VR, you'll need to look all around you to notice hidden coins, crystals, and foxholes, which acts a portals to bonus levels where you gaze into an underground tunnel as one would look into a dollhouse.

The controls are simple enough. You use the Xbox controller to make Lucky jump or attack by whipping his tail around quickly, it's low-stakes combat where you can enjoy taking the time to look into every nook and cranny.

In games like "ADR1FT," where you play as an untethered astronaut drifting through various levels set in the ruins of a destroyed space station, your environment becomes your lifeline along with the canisters of oxygen that float listlessly around in zero gravity.

"ADR1FT" is a first-person game where you gaze out at the world around you through a space helmet, slowly maneuvering through space wreckage where your objective might be above or below. If you've seen the movie "Gravity," you'll know the type of experience you're in for. There's no violence, the only danger is running out of air and suffocating — where your environment slowly pulses into white oblivion — and that means you can't dawdle.

This particular game mechanic combined with the beauty of floating through space gives the game a unique feel.

Another game where the environment plays a part is "Chronos," a third-person game that plays like a mixture of "The Legend of Zelda" and "Dark Souls."

While third-person games fight an uphill battle to be as immersive as first-person games simply because of the difference of perspective, "Chronos" is a good reminder that the old gameplay mechanics are still fun when translated into VR environments. Your vantage point switches throughout "Chronos," maintaining a fixed place within the room you're currently exploring until your hero disappears through the next doorway, where the camera will seamlessly transition to another corridor.

The camera's vantage point and transition to the next matter immensely in third-person games like "Chronos," as it can be used to both frame a scene in a striking way — such as your hero walking across a rickety bridge while the moon illuminates his silhouette — or as a "wow" moment where a series of lights spring to life and you find yourself looking up to see you're actually at the bottom of the an elevator shaft that extends hundreds of feet above you.

After a week of casual play, I still have to make my way through more than a few levels of each of the Rift's 30 launch titles, but there's a depth here that will keep early adopters busy until the second wave of releases hits in a few months. Oculus is promising over a 100 titles by the end of 2016, so it's going to be more of a question of how many games you can afford, and what genres you prefer the most.

Movies: The next frontier in storytelling

One of my favorite experiences so far in the Rift has been watching the films designed solely to be experienced in virtual reality.

A budding medium for cinema, the groundwork is still very much being laid for VR films, and Oculus is leading the charge with its own in-house film studio, Oculus Story Studio. Helmed by former Pixar execs, Oculus Story Studio is the division of Oculus devoted to figuring out how the hell movies are going to look in virtual reality. How will scene transitions work? Will jump cuts be nauseating? How long should a short film be? How about a feature-length film? Is camera technology advanced to the point where live-action films are "presence" inducing, or should we stick to fully rendered CGI characters and environments, a la Pixar, for the foreseeable future?

The good news is that even while these huge questions are being solved, the experimental films along the way are more than capable of being heartwarming or heart-racing, sad or scary, and, arguably most important when comparing it to other forms of cinema, visually spectacular.

I enjoyed the character-driven short film "Henry" from Oculus Story Studio, narrated by Elijah Wood, and the "Iron Giant"-like short film "Lost," which drops you in the middle of a forest at night to watch eye-opening reunion between a mechanical robot hand and its giant owner.

But my favorite so far wasn't made by Oculus, it was a quietly beautiful and peaceful short film called "The Rose and I," a charming adaption of "The Little Prince" created by San-Francisco based studio Penrose.

Premiering at Sundance 2015, "The Rose and I" is a master class in how less is often more in virtual reality storytelling, and the experience now takes full advantage of the Rift's positional tracking for an added sense that you're really there, observing the little prince as he goes about his daily routine.

You watch the film standing up, and the film opens with a tiny asteroid floating in front of you framed by a children's-book-like sky brimming with twinkling stars. A larger, ringed planet passes slowly overhead, and then a billow of smoke puffs out of one of the asteroid's holes and out pops our protagonist, the prince, a tiny little character who you can examine by standing up and leaning in.

It's hard to describe the delight of being able to stand up on your tip-toes and gaze down upon the prince as he scurries about his tiny little planet, where he notices a lone rose growing upon desolate rock. There's still an emotional core to the film even though there isn't any action. The little prince disappears into his planet's crater only to return with a watering bucket, which he uses to nurture the rose. The closing shot lets you observe as the prince sits down next to his new plant friend and watches the space sunset; it's remarkably moving for a story so simple.

It's easier to be struck by the importance of friendship and companionship when all you have to do is turn your head to see the empty expanse that surrounds the planet in all directions.

The beginning of something big

The Oculus Rift nails a lot of things right out of the gate. Its design is comfortable and well thought out, and the technology inside it is second-to-none thanks to the in-house research conducted by John Carmack and Michael Abrash. Its expansive library of games, movies, and experiences means there's something for everyone, and Oculus Home is an easy-to-navigate hub for browsing your library and purchasing new games.

Sure, the resolution could be better and I'm a bit annoyed the front-facing camera that Palmer Lucky told me was being tested out didn't end up making the final cut, but Oculus does a good job of making any limitations incredibly easy to ignore. This thing is polished, and at a time when anything out of place will be called out by skeptics who haven't tried high-end VR, nothing feels glaringly lacking.

Should you buy one? If you can afford it, yes. If you already have a PlayStation 4, your best bet is waiting for PlayStation VR to launch later this year, but even that will be hindered by the game console's aging hardware. HTC's Vive headset does offer features that the Rift doesn't, including room-scale VR where you can walk around, but that package is even more expensive, and will likely appeal more to hardcore gamers who already have an empty room to devote entirely to VR.

Looking to the next couple of years, the games catalog will only get better, the games richer, the genres more diverse, and we haven't even begun to scratch the surface of what the future of films, productivity programs, and educational and travel experiences will look like. When Oculus launches its "Touch" hand-tracking controllers in the latter half of this year, we'll finally be able to see our hands represented in VR, and that alone will spur a whole new generation of games where you can dual-wield pistols or illuminate the path in front of you by lantern light.

The important thing is Oculus has set the bar incredibly high for what virtual reality should look and feel like, and because they took the time to build out a strong ecosystem of experiences, we can safely say virtual reality is here to stay for the long haul.

If you can find a way to try out the Rift, do it. The future is finally here.

Join the conversation about this story »

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Canada was the second country to get Netflix, but it has always felt insecure about its catalog of titles, according to CEO Reed Hastings.

Hastings told Wired that every Netflix country has its own quirks, and that Canada’s is that its Netflix subscribers constantly believe the depth of their streaming catalog is inferior.

This feeling exists even though Canada has a few titles that even US customers don’t have, including the upcoming “Star Wars: The Force Awakens,” which will only be available to Netflix subscribers in Canada because of a quirk with its global licensing.

But perhaps Canadians are just comparing themselves to the US.

While Canada has a perfectly above-average catalog when looking at the almost 200 countries Netflix operates in, it does have fewer overall titles than the US. According to Unogs, a site that tracks Netflix’s catalog, the US has 5,598 while Canada has 3,349.

SEE ALSO: Netflix has revealed an elite category of binge-watcher, and they honestly sound a bit terrifying

Join the conversation about this story »

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Netflix has admitted that it has been slowing video content for some customers.

According to a company blog post, the streaming media giant has been throttling video content on Verizon and AT&T networks in the U.S. without their knowledge.

Netflix claimed that it reduced the resolution to protect users from exceeding their data caps on the two wireless networks. The Wall Street Journal reports that Netflix has reduced video streaming speeds for consumers on most wireless carriers around the world and has been doing so for more than five years.

The company also said it has not enacted this policy for Sprint and T-Mobile customers because those carriers have more "consumer-friendly policies." Those two wireless carriers already slow down network speeds when consumers go over their data caps, while Verizon and AT&T penalize their customers with aggressive overage charges.

This news surfaced after Verizon and AT&T investigated the claims of T-Mobile CEO John Legere that T-Mobile customers could stream Netflix content at a higher resolution than Verizon and AT&T customers.

Netflix's revelation highlights the issues that the mobile industry would likely face as mobile data consumption continues to increase. Carriers are facing more demand and stress on their networks, which would be costly to expand. 

But slower network speeds would not sit well with consumers, who have access to so many discounts from different wireless carriers. As a result, slow streaming speeds could cause a customer to jump ship.

And much of this data consumption is due to mobile video streaming. In 2015, mobile video traffic accounted for 55% of all mobile data traffic, according to Cisco.

Wireless carriers, therefore, must find a balance between quality video streaming and unmanageable data costs. One solution could be data-quality controls within mobile apps. Netflix said in its blog post that it intends to debut a data-saver option for users in May that would give users the option to reduce their streaming quality in order to conserve data.

This situation will bear watching in the next several months as wireless carriers continue to compete for their customers' loyalty in a wireless industry that is in a state of flux for numerous reasons. AT&T and Verizon have dominated the carrier market over the past seven years while T-Mobile and Sprint have struggled to gain subscribers. Then in 2013, T-Mobile tweaked its strategy to turn around its business.

This move, along with slowing smartphone adoption and other forces in the mobile industry, killed the two-year contract and initiated an ongoing price war between carriers. The movement away from the contract model is not only changing the way carriers operate, it’s affecting the myriad of industries that rely on carriers’ services.

Will McKitterick, senior research analyst for BI Intelligence, Business Insider's premium research service, has compiled a detailed report on wireless carriers that examines how the wireless industry has fundamentally changed since carriers began aggressively responding to the launch of T-Mobile’s “Un-Carrier” movement. It also looks at the factors underpinning changes in the broader wireless industry and the challenges carriers face in 2016 and beyond, including the upcoming spectrum auction and the deployment of new wireless technologies.

Here are some key takeaways from the report:

• Consumers are actually becoming more loyal to their current wireless operator even as competition between the carriers intensifies.
• The wireless carriers are not only battling over device financing, they’re also trying to woo consumers through attractive data packages.
• Intensified competition between carriers has lengthened the smartphone replacement cycle, posing a challenge for mobile software developers and handset makers.
• With phone subscriber growth stagnating, carriers will look to alternative sources of revenue, including connected cars, tablets, and IoT devices, to drive growth.
• The upcoming spectrum auction, the latest ruling on net neutrality, and new technology, will change the face of the broader wireless industry in next few years.

In full, the report:

• Examines the impact of T-Mobile’s Un-Carrier movement on the wireless industry.
• Forecasts how the death of the two-year contract will impact the broader mobile industry.
• Identifies how carriers are helping facilitate the growth of mobile video consumption.
• Explains the changing nature of subscriptions and the growing importance of connected devices.
• Discusses what changes and challenges the wireless industry will face over the next five years.

To get your copy of this invaluable guide, choose one of these options:

1. Subscribe to an ALL-ACCESS Membership with BI Intelligence and gain immediate access to this report AND over 100 other expertly researched deep-dive reports, subscriptions to all of our daily newsletters, and much more. >> START A MEMBERSHIP
2. Purchase the report and download it immediately from our research store. >> BUY THE REPORT

The choice is yours. But however you decide to acquire this report, you’ve given yourself a powerful advantage in your understanding of the wireless carrier war.

Join the conversation about this story »

The women of "Game of Thrones" posed for new cover photos just ahead of what looks to be the biggest season for the HBO hit's female characters.

“The women are rocking this season,” HBO programming president Michael Lombardo told Entertainment Weekly for this week's "Game of Thrones" cover story.

"They power this season," the executive continued. "It’s organic to the storytelling, yet a radical shift. It’s the women that are the hope that we’re watching as the chess pieces move this season, and it’s very exciting.”

The magazine released six different covers with the actresses in their Westeros best. The covers are graced by Daenerys (Emilia Clarke), Brienne (Gwendoline Christie), Arya (Maisie Williams), Sansa (Sophie Turner), Cersei (Lena Headey), and Margaery (Natalie Dormer).

See the cover shots and what to expect from each character below:

SEE ALSO: Cersei and Jaime will reach an 'all-time weird level' on the new 'Game of Thrones' season

SEE ALSO: A former 'Game of Thrones' star has harsh things to say about his time on the show

Daenerys (Emilia Clarke) is stranded by Dothraki, but her dragon, Drogon, is not far away. Though given what she's been through, she's expected to scrap the benevolent ruler style she has been using and become a lot more forceful.

Brienne's (Gwendoline Christie) next move seems wide open. But she's definitely not going to abandon her promise to Catelyn Stark (Michelle Fairley).

Arya (Maisie Williams) is expected to find her way out of the Faceless Men cult. Clearly, her continued desire for revenge will lead her back into the thick of things.

We're coming up on April, better known as "'Star Wars: The Force Awakens' is finally available to stream month."

If getting a physical copy of the latest "Star Wars" isn’t your thing, in April you'll be able to buy a digital copy of the movie on Amazon.

And there are other big titles available to stream next month from the big and small screen like Jennifer Lawerence’s Oscar-nominated “Joy,” the latest season of “Inside Amy Schumer,” and the much-anticipated premiere of “Game of Thrones” season 6 on HBO.

Here’s the complete list. We’ve highlighted some titles in bold you shouldn’t miss.

SEE ALSO: 12 celebrities you didn't realize are absurdly rich

iTunes

Available April 5

“Joy”

Available April 12

“The 5th Wave”
“Ride Along 2”
“Krampus”

Available April 19

“The Choice”
“Fifty Shades of Black”

Amazon Prime

Available April 1

“Amistad”
“Ant-Man” (w/ Starz subscription)
“Bananas”
“Batman”
“Crimes and Misdemeanors”
“Cube”
“Cube 2: Hypercube”
“Cube Zero”
“Death Wish”
“Dennis the Menace”
“Deuces Wild”
“Dr. T. and the Women”
“Dream Lover”
“Ferris Bueller's Day Off”
“Gang Related”
“Gremlins”
“House of Lies” (Season 5, w/ Showtime subscription)
“Into The Blue”
“Lars and The Real Girl”
“Liberty Stands Still”
“Maximum Overdrive”
“Men in Black II”
“Music from Another Room”
“Naked Gun 2&1/2: The Smell of Fear”
“Nurse”
“Payback”
“The Peacemaker”
“Pootie Tang”
“Pumpkin”
“Pumpkinhead”
“Rare Birds”
“Rescue Dawn”
“Risky Business”
“Ronin”
“Santee”
“Simon Says”
“Skipped Parts”
“Star Wars: The Force Awakens” (FOR PURCHASE ONLY)
“Step Into Liquid”
“Swimming With Sharks”
“Teen Wolf Too”
“The Arrival”
“The Big Lebowski”
“The Dead Zone”
“The Devil's Advocate”
“The Holiday”
“You've Got Mail”

Available April 3

“He Shed, She Shed” (Season 1)

Available April 6

“The Transporter Refueled”
 
Available April 7

“Nasty Baby”
“Outlander” (Season 2, w/ Starz subscription)

Available April 8

“Catastrophe” (Season 2, AMAZON ORIGINAL)
“Joy”
“Ricki and the Flash” (w/ Starz subscription)

Available April 9

“Maggie”
“Sliding Doors”

Available April 10

“Billions” (Season 1, w/ Showtime subscription)

Available April 12

“Mad Max” (1979)
“Ride Along 2”

Available April 15

“The Whistleblower”
“Thunderbirds are Go!” (Season 1, AMAZON ORIGINAL)

Available April 18

“Home Fires” (Season 1)
“The Widower” (Season 1)

Available April 19

“The 5th Wave”
“Tangerines”

Available April 20

“Storage Wars” (Season 9)

Avilable April 21

“Inside Amy Schumer” (Season 4)
“Veep” (Season 2)

Available April 22

“Pawn Sacrifice”

Available April 25

“Penny Dreadful” (Season 3, w/ Showtime subscription)
“Rebellion” (Season 1)
“Unity: The Latin Tribute to Michael Jackson”

Available April 27

“The Great Fire” (Season 1)

Available April 30

“Ides of March”

Hulu

Available April 1
 
“Shades of Blue” (Season 1 Finale))
“You, Me & the Apocalypse” (Season 1 Finale)
“Alfie” (2004)
“American Loser”
“Amistad”
“And You Thought Your Parents Were Weird!”
“Arctic Tale”
“The Arrival”
“Away From Her”
“Bad Boys II”
“Bananas”
“Barbershop” (Complete Season 1)
“Basic Instinct 2”
“The Bear”
“Bloodsucking Bastards”
“Brighton Rock”
“Carlos”
“Chelsea Walls”
“Cinema Paradiso”
“Count Yorga, Vampire”
“Cube”
“Cube 2: Hypercube”
“Cube Zero”
“Dead Heat”
“Dead Man”
“The Dead Zone”
“Death Wish”
“Deuces Wild”
“Donnie Brasco”
“Dr. T. and the Women”
“Dragon: The Bruce Lee Story”
“Dream Lover”
“E.T. The Extra-Terrestrial”
“Ferris Bueller's Day Off”
“From Dusk Till Dawn”
“Gang Related”
“Gravy”
“The Grifters”
“The Incredible Two-Headed Transplant”
“Into The Blue”
“Lars and The Real Girl”
“The Last Survivors”
“Liberty Stands Still”
“Little Girl Who Lives Down the Lane”
“Loosies”
“Lucky Number Slevin”
“The Manchurian Candidate”
“Match”
“Maximum Overdrive”
“A Mighty Heart”
“Murder in the Dark”
“Music from Another Room”
“My Best Friend's Wedding”
“My Five Wives”
“Naked Gun 2&1/2: The Smell of Fear”
“Nurse”
“Open Your Eyes”
“The Package”
“Paddington”
“Paris”
“Payback”
“The Peacemaker”
“Pootie Tang”
“Pumpkin”
“Pumpkinhead”
“Rare Birds”
“Rescue Dawn”
“The Riot Club”
“Ronin”
“Santee”
“Scream, Blacula, Scream”
“Second Arrival”
“Shopgirl”
“Sicko”
“Simon Says”
“Skipped Parts”
“Step Into Liquid”
“Swimming With Sharks” (1994)
“Teen Wolf Too”
“Tyler Perry's Daddy's Little Girls”
“The Wicked Within”
“The Wraith”
“Zombies of Mass Destruction”

Available April 2

“The Duff”

Available April 4
 
“11.22.63” (Series Finale, HULU ORIGINAL)
“Teen Mom” (Season 5 Finale)
 
Available April 5
 
“Awkward” (All Episodes)
“Faking It” (Season 3)
 
Available April 6
 
“American Idol, American Dreams” (Special)
“Family Therapy” (Series Premiere)
“Mob Wives” (Season 6 Finale)
“Teachers” (Season 1 Finale)
 
Available April 7
 
“Idiotsitter” (Season 1 Finale)
“Workaholics” (Season 6 Finale)
 
Available April 8
 
“American Idol” (Series Finale)
“Game of Silence” (Series Premiere)
“All Things Must Pass”
 
Available April 9
 
“Sleepy Hollow” (Season 3 Finale)
“Sliding Doors”
“Maggie”
“Chappie”
 
Available April 11
 
“Love & Hip Hop” (Season 6 Finale)

Available April 12
 
“The Mindy Project” (All New Episodes)
“iZombie” (Season 2 Finale)
 
Available April 15

“Before the Fall”
“The Whistleblower”
“Girl on the Edge”

Available April 18
 
“Crazy Ex-Girlfriend” (Season 1)
 
Available April 19
 
“Hard Candy”
“Tangerines”
 
Available April 23
 
“It Follows”
 
Available April 30
 
“Hell’s Kitchen” (Season 15 Finale)

"Game of Thrones" star Emilia Clarke doesn't believe that critics who have attacked the show for having weak female characters have a leg to stand on.

"There’s so much controversy," Clarke, who plays Daenerys, told Entertainment Weekly in this week's "Game of Thrones" cover story. "Yet, that’s what’s beautiful about 'Game of Thrones' — its depiction of women in so many different stages of development. There are women depicted as sexual tools, women who have zero rights, women who are queens but only to a man, and then there are women who are literally unstoppable and as powerful as you can possibly imagine."

Much has been written about "Game of Thrones" and its feminist leanings in general. But season five found itself embroiled in several controversies over scenes that many believed were unnecessary and even offensive, like the Sansa Stark rape scene.

Ahead of the season-five finale, Time wrote that despite the great things female characters had done on past seasons, "these women have largely been trapped in bedrooms, dungeons, castles, and fighting pits this season."

In response, Clarke said, "It pains me to hear people taking 'Thrones' out of context with anti-feminist spin — because you can’t do that about this show. It shows the range that happens to women, and ultimately shows women are not only equal, but have a lot of strength."

This season, Clarke's character will have the chance to prove critics wrong. When we last saw her, she was stripped of all her power and stranded in Dothraki territory.

"She knows all too well that getting on the wrong side of the Dothraki is not what you want to be doing," Clarke said. "But on the same breath she’s kind of a Dothraki at heart because that’s where she learned her strength. Not just that she’s fireproof and gave birth to dragons, but her strength as a woman."

SEE ALSO: The women of 'Game of Thrones' are going to have their biggest season yet

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Bill Cosby has been accused of sexual assualt by more than 50 women, but these allegations won't be part of an exhibit honoring Cosby's career at the new National Museum of African American History and Culture. 

The museum in Washington, DC, opening in September, is set to include 11 exhibitions detailing black history and culture in America, and the Cosby section will be part of the "Taking the Stage" exhibition highlighting prominent entertainment figures. 

Patricia Leary Steuer, who has accused Cosby of assault, told the New York Times, "If they just speak about the contributions, there will be this enormous presence that is not talked about." 

According to the Times, the museum's director, Lonnie G. Bunch, "has said he understands that, given the subject matter, not everyone will be happy with all of the curatorial decision-making." 

Cosby has denied all allegations. 

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It's time to give a big pat on the back to Warner Bros. marketing.

Flooding promotion of "Batman v Superman: Dawn of Justice" has helped the film nab record-breaking box-office numbers over the weekend, and at the same time the studio has cleverly teased another one of its Batman properties, "The Lego Batman Movie."

The studio released a second teaser for the film Monday, less than a week after premiering the first one.

This time around, we find Batman (voiced by Will Arnett), hanging out in Wayne Manor. Dressed in a smoking jacket and a Batman mask, he talks to the picture on the wall of his parents about his saving Gotham — again.

After Alfred (Ralph Fiennes) sneaks up on him, he looks back on all the other times Batman missed his parents, recapping the years of the previous Batman movie releases, including flashes of images like Ben Affleck as the current Dark Knight and the nipple suit from the Val Kilmer/George Clooney era.

"I have aged phenomenally," Batman acknowledges.

Watch the funny teaser below. "The Lego Batman Movie" opens February 2017.

SEE ALSO: RANKED: Every actor who's played Batman, from best to worst

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NOW WATCH: 'Batman v Superman' is a complete trainwreck, and director Zack Snyder is to blame

Over the past five years, chef Robert Irvine has tried reviving 135 failing restaurants across America for the Food Network show "Restaurant: Impossible," now at the start of its 13th season.

Of these, 82, or 61%, have closed after their makeovers, according to the blog Food Network Gossip.

But that's actually not that bad of a statistic, since these restaurants were so poorly managed that Irvine and his team only took the job if there was essentially a 100% chance of imminent failure.

In fact, according to a frequently cited study by Ohio State University on failed restaurants, 60% do not make it past the first year, and 80% go under in five years.

Irvine has noticed five recurring factors from his experience trying to whip these places back into shape. He shared with Business Insider his top five reasons why the majority of restaurants fail.

SEE ALSO: The 25 best new restaurants in the US

The owners are inexperienced.

There are a lot of people out there who think they should open a restaurant simply because they know how to make a few great dishes.

"Potential restaurateurs do not realize or appreciate the specific set of demands that come along with owning and running a restaurant," Irvine said. "Once realized, it is often way too late."

At this point, some owners bring in an industry veteran to help out. "This can be effective, but it also adds more of a financial burden to the bottom line by bringing in someone who expects to be paid relative to their experience," Irvine said.

They have terrible managers.

"Unlike other businesses where you may find yourself managing just one group of people with one specific skill set, restaurants have a ton of moving parts requiring a diverse group of people with varying skills sets, talents, and personalities," Irvine said.

He's found that the best restaurant managers he's worked with started at the bottom at a restaurant — as a line cook, perhaps — and worked their way up the chain of command.

"Managers who have walked a mile in the shoes of the people they are overseeing are more understanding, compassionate, and seek like-mindedness while providing insight into how best to relate to, approach, and motivate each member of their team," Irvine said.

The owners lack accounting skills.

Irvine said that it's unfortunately a common occurrence for him to ask owners of a "Restaurant: Impossible" location about their food and labor costs and how their revenue and profits stack up only to receive a dumbfounded look.

Another common mistake is that there's no system to ensure that numbers are kept up to date.

"One particular owner was so proud of himself for being able to report a 33% food cost until I dug a little deeper to see that his costs were based on old figures and that the cost of ingredients had risen significantly since he last did his calculations," Irvine said.

Vice launched a TV channel at the end of February amid a lot of media commotion, along with hype from the company itself.

Vice CEO Shane Smith proclaimed in a wide-ranging and expletive-laden interview with The Hollywood Reporter about the cable network, Viceland, that "12 months from now we'll be on the cover of Time magazine as the guys who brought millennials back to TV."

As of now, at least, that doesn't quite seem to be the case. Though it should be said that Viceland is very new and still trying to cultivate an audience, the first peek into the ratings reveals that viewership is far below what the previous channel it replaced, H2 — the History Channel offshoot — got.

International Business Times (IBT) obtained ratings data from Rentrak, a company that measures media consumption, which show that average daily viewership of Viceland in its first three weeks is a steep 77% lower than H2's viewership over the last three weeks of its existence.

During those same time periods, H2 averaged about 241,000 viewers a day. Meanwhile, Viceland averaged only 55,000 viewers a day.

So far there are no available ratings for Viceland from Nielsen, the industry standard, because Vice has declined to release those numbers publicly for at least six months while the network gets going. Rentrak pulls data from a sample of 17 million homes, but Nielsen provides more precise demographic information.

Vice told IBT that the numbers from Rentrak are "inaccurate."

Vice was not immediately available for comment on the numbers.

Bloomberg reported that Viceland's programming, which includes shows like "Weediquette" and "Gaycation," is actually more popular on YouTube and Vice's site than on the channel itself. The shows cover issues surrounding marijuana and LGBTQ culture, respectively.

SEE ALSO: How Vice's new cable network plans to revolutionize TV and bring back millennials

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A men's magazine that's notorious for featuring scantily clad women is changing its ways.

Maxim will feature curvy model Ashley Graham on the cover of its latest issue, and according to Fashionista, it's a first for the American edition of the magazine.

Graham was recently featured on the cover of Sports Illustrated's swimsuit edition, a first for a plus-size model. She was subject to some unfortunate backlash, however.

Though the move to place Graham on the cover appears to be a play to defy antiquated beauty standards, Rackedhas pointed out one sharp contrast between Graham's cover and many of her predecessors' covers: She's not really baring all.

Most other cover models before her were nearly naked, Racked says, showing off their stomachs and sometimes their legs. Though Graham is technically nude, her stomach is well covered by the shirt she's holding in front of her.

SEE ALSO: There's an ugly backlash against the plus-size model Sports Illustrated put on its cover

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Warning: spoilers ahead if you haven’t seen “Batman v Superman: Dawn of Justice.”

Like much of the reaction to “Batman v Superman: Dawn of Justice,” Jesse Eisenberg as Lex Luthor has been met with mixed feelings. Some love his portrayal of a young version of the villain, while others felt his rapid-fire speak and nervous mannerisms were a bit too much for the role.

It was a gutsy move by director Zack Snyder, which came to him after meeting Eisenberg for another role, the brief cameo in the movie of Daily Planet photographer-turned-CIA agent Jimmy Olsen, a favorite from the comics.

“Zack came to me, and I didn’t know the character he wanted me to play. He just described something very vague,” Eisenberg told Business Insider on Monday while talking about his upcoming independent film “Louder Than Bombs” (opening April 8). “Zack is a more visual guy, so his explanation included a lot of things I don’t excel at, including camera movements and effects. But what I left from it was I didn’t think I could do a good job in that role.”

The Jimmy Olsen character, who briefly appears in the beginning of the movie when Lois Lane (Amy Adams) is in the Middle East to interview a terrorist, is killed when it's revealed that he’s a CIA agent.

Snyder told Entertainment Weekly that originally he wanted a known actor like Eisenberg to play the role, for the added shock value. But when Eisenberg turned down the opportunity, Snyder went with a lesser-known actor, Michael Cassidy, and it's never mentioned in the film's dialogue that the character is Olsen (the only reference is in the end credits).

But "Batman v Superman" wasn’t done with Eisenberg. Months after turning down the role, the actor said he came on the radar of the film’s coscreenwriter Chris Terrio, who was doing rewrites, while Eisenberg was in an Off-Broadways play.

“Chris had seen me in 'The Revisionist' and the character I play can be seen as despicable, and he liked me in that,” Eisenberg said.

Soon after, Eisenberg was given the “Batman v Superman” script with an offer for him to play the infamous villain Luthor.

“I was thrilled,” he said of being considered. “As soon as I read it, I felt excited by it.”

“Batman v Superman: Dawn of Justice” is currently in theaters.

SEE ALSO: It turns out the "Batman v Superman" box office opening isn't as big as first reported

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Taylor Swift likes to keep her fans close by posting every aspect of her life on social media. She's been spending some time with her family lately, and posted a fun Easter tradition of theirs. She calls it "Easter Egg Battles 2016."

Story by Ian Phillips and editing by Chelsea Pineda

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Sean "Diddy" Combs" is opening a charter school in Harlem this fall. 

Combs, who grew up in the New York City borough, has been involved with the school's creation for five years, but it was just publicized Monday.

The hip-hop artist talked to Steve Perry, the founder of the Capital Preparatory Magnet in Hartford, Connecticut, back in 2011 to help build the model for the Harlem school. Capital Preparatory Harlem, as the new school is known, was approved by the Board of Regents in 2014. 

"Creating this school is a dream come true for me," Combs said in a statement. "I want to impact the lives of young people in my community, and build future leaders. The first step is offering access to a quality education."

Perry told the New York Times that it is unclear what Combs' role in the school will be, but said, "It’s important to note it was he who inspired our team to come in and expand into New York."

Capital Prep Harlem will open for the 2016-17 school year with 160 students in sixth and seventh grades. Officials have said that it will expand one grade per year and will eventually enroll 700 students from grades six through 12. 

"Every young person should have the tools they need to succeed," Combs continued in his statement. "All our children should be able to pursue their dreams. That is something I can impact with this school."

The school is currently accepting applications for students and staff members at its website. 

SEE ALSO: A major new museum is highlighting Bill Cosby and ignoring his sex-assault scandal

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SoundCloud has launched a new premium music-streaming service, SoundCloud Go, that will compete with the likes of Spotify and Apple Music.

After a 30-day free trial, SoundCloud Go will cost $9.99 a month. The service will be ad-free, allow offline playback, and give access to a broader catalog of music.

SoundCloud Go's $9.99 pricing is industry standard, aligning with the basic plans of Spotify and Apple Music (though if you sign up through the app store, it will be $12.99 because of the fee Apple charges).

SoundCloud has worked in recent months to sign deals with major labels including Universal, Sony, and Warner in advance of this rollout. There have also been reports that the service has struggled to move toward profitability and lost $44.19 million in 2014.

SoundCloud has 175 million users, but how many will sign on to the new service?

"Looking at conversion rates, it's likely they'll end up with low single digits," Mark Mulligan, a Midia Research analyst, told Billboard. Still, its huge user base could make SoundCloud a force in the market, even with a lower conversion rate. Spotify recently announced it had 30 million paid users, and Apple Music has about 11 million.

SoundCloud's CEO, Alex Ljung, thinks this new service's secret weapon will be the ability to integrate "premium" songs and the "free" tracks, like live and rough cuts, that SoundCloud built its reputation on. "Before, you'd have to use two or three services to get all the tracks into different playlists," Ljung told The Verge. "It feels very different when you can have one playlist with everything you want, whether it's back catalog Drake or a beef track he just recorded."

SoundCloud isn't the only music-streaming player looking to jump into the on-demand arena. Pandora has said it wants to move into this area as quickly as possible, and it replaced its CEO on Monday, partially to help with the label negotiations necessary for that jump, sources told The Wall Street Journal.

SEE ALSO: Spotify is quietly funding a startup that could break open a whole new market for streaming music

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As spring brings nicer days ahead, television providers are actually preparing to shut down.

This is the time for finales. It's also the time for networks to make their decisions about which shows have to go and which shows get another round. That will determine whether a show's last episode of the season is also a series finale.

With today's shrinking live viewership, it takes more than just ratings for a TV show to survive to see another season.

Networks are now looking at online, on-demand, and streaming viewership; awards appeal; social-media audiences; and international sales, among many other factors.

That said, here are Business Insider's predictions for the shows that will probably get the ax over the next few weeks.

SEE ALSO: Here are your favorite TV shows that are getting renewed for another season

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"Galavant" (ABC)

A fun musical idea in its first season, "Galavant" was supposed to be an event series, but it was renewed for a second season. Whenever networks see success and dollar signs, they just can't help squeezing all the magic out of something.

No longer novel in its second season, the series generated less conversations, and the ratings dropped 52%. This knight's tale isn't going to end happily.

"Marvel's Agent Carter" (ABC)

This was one of the TV show returns we were most looking forward to. Apparently, we were in the minority, as the "Agent Carter" ratings fell 47% from its first season.

On the other hand, it may get a stay on its execution for being a Marvel series and part of the Disney family — synergy and all. Certainly, ABC isn't proving itself to be the best home for the Marvel-branded series. "Agents of S.H.I.E.L.D." ratings fell 16% this season, and Netflix doesn't share its ratings.

"The Muppets" (ABC)

ABC was so excited about bringing back the "Muppets" franchise that it gave the series the green light on just a short pitch video. The company thought that by combining the iconic variety show with mockumentary elements of "Modern Family" and "The Office," it had found a new way to package the Muppets for young audience members but keep their nostalgic parents watching.

Instead, the show steadily fell in the ratings. ABC hoped a new showrunner and creative tinkering would make the difference, but few people stuck around to see the results. 

It's probably time to pull the curtain on this production.

"Batman v Superman: Dawn of Justice" is currently the number one movie in America, opening with a huge $166.1 million in the United States alone. However, the film is a mess. While many people have taken issue with how the film portrays both Batman and Superman, there's an even worse aspect of the movie.

Story by Ian Phillips and editing by David Fang

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Even the most optimistic executive at 20th Century Fox wouldn’t have thought this was possible.

After just over a month in theaters, “Deadpool” is now the worldwide highest-grossing R-rated movie of all time, with a current total of $745.7 million. 

The film passed the worldwide gross of 2003’s “The Matrix Reloaded” ($742 million) for the top spot after box-office numbers came in Monday.

But “Deadpool” is still not the domestic highest-grossing R movie. That honor goes to 2004's “The Passion of the Christ” with $370.7 million. 

The domestic take for “Deadpool” is currently at $349.3 million, the third-highest for an R movie domestically. In the coming weeks, it will surpass second-place finisher “American Sniper” ($350 million).

“Deadpool,” starring Ryan Reynolds as the wise-cracking Marvel superhero, opened on February 12 with a record-breaking $132 million weekend. It went on to become the highest-grossing film in the US over President’s Day weekend, highest opening all-time for an R-rated movie, and the highest-grossing for the month of February.

Though Fox has not officially announced a sequel to “Deadpool,” the film’s screenwriters Rhett Reese and Paul Wernick told Entertainment Weekly they are in the early stages of a script for a second film.

SEE ALSO: Everything we spotted in the newest "Game of Thrones" trailer

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Jimmy Kimmel gave Ashton Kutcher a lesson in increasing his Uber user rating. The funny thing is that the "That '70s Show" alum is an investor in the popular car service company.

The late-night host and Kutcher decided to compare Uber user ratings (the average given to them by drivers) on Monday night's episode of "Jimmy Kimmel Live!" In the end, they discovered that Kimmel's 4.8 rating just beats Kutcher's 4.79 score.

Both had their theories on what kept their ratings from being perfect fives. Kutcher thinks a ride home after getting drunk with his father-in-law could've done it.

“I had a night with Mila’s dad where we were drinking vodka, and I was not driving home, and the Uber was of great assistance,” Kutcher remembered. “I don’t know how I got in the house. I don’t know how I got in the car, but apparently I remembered to press the Uber button.”

Kimmel believes that getting into the wrong car may have done it for him. "We didn't realize it until we got to [the other person's] destination," Kimmel recalled. "It was a whole mess. So I think the guy punished me for that."

As for beating Kutcher's rating, the host chalked it up to giving his drivers cash tips. But Kutcher pointed out that in addition to safety concerns for drivers carrying a lot of cash, tipping goes against Uber's design.

“Nobody’s saying you can’t give someone a tip. But the idea of the service is you get into a car, you take the ride, you get out of the car, and it’s done,” Kutcher, whose new Netflix comedy "The Ranch" premieres on Friday, said. “It’s not that weird sort of exchange moment.”

“I’m still gonna tip,” Kimmel stated defiantly. “Maybe that’s why my rating’s higher than yours.”

 Watch Kimmel and Kutcher compare Uber ratings below:

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SEE ALSO: Jimmy Kimmel mocks Hillary Clinton's critics by 'mansplaining' to her

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