Now that music comes out on the weekend, and not always on every streaming service, it can be hard to know where to find the next great song.

So Business Insider is helping you with this rundown of the best of what's new in the music world that you can listen to right now.

Chance the Rapper — “Angels” (ft. Saba)

Chance the Rapper’s “Angels” isn’t new, but the video is his thinly veiled rebuke to Spike Lee’s “Chi-Raq,” which imagines the artist flying through his hometown, a real-life superhero with a White Sox hat.

Chance embraces the soulful, fun spirit that keeps Chicago moving through any struggle, and the video’s goofy art direction recalls old-school Missy Elliott. It’s another reminder that, young though he may be, Chance is essential.

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Drake — "One Dance"

We are on the cusp of Drake’s first album in almost three years, "Views from the 6." On Tuesday he delighted fans by dropping two new singles, the best of which is “One Dance,” featuring Nigerian singer WizKid and R&B vocalist Kyla.

The song’s Jamaican vibe is a recurring trend for Drake of late, and a place he’s been able to thrive. "Views from the 6" is out later this month.

Listen via Apple Music

Tegan and Sara — "Boyfriend"

Twin sisters Tegan and Sara are back with the lead single off of their upcoming album, “Love You to Death.” The tune, which is about a love triangle, is short, but its pleasing pop vibes will make you want to listen again, and again, and again.

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According to Aaron Carter, the singer made $300 million by the time he turned 12 with songs like "I Want Candy" and “How I Beat Shaq."

He was a superstar in the early 2000s, but hasn’t released an album since 2002. With the exception of a stint in rehab and an ill-advised reality TV show called “House of Carter,” he’s largely been off the map.

Now, he's trying to make a comeback. He's working on his first album in 13 years, LØVË, which he plans on releasing in early 2017. He also just released a new EDM-inflected single called “Fool’s Gold,” which he wrote and produced himself. He even directed and edited the music video on his own.

Carter told INSIDER that he's spent the last 10 years learning how to make an album from scratch. “There's a difference between a beatmaker and a producer,” he said, explaining that a beatmaker doesn't know what to do with a beat after he's created it, while a producer starts with a beat, then brings in songwriters and people to edit vocals.

He said he started out as a beatmaker. He went to Guitar Center on his 18th birthday, accessed his trust fund, and claims to have spent half a million dollars in less than an hour on stuff he didn't know how to use. He then made beat after beat, and hired someone to produce them.

He described it as "like being in a self-imposed creative incubator," adding "Imagine a hockey player that lived in Alaska who's, like, trying to learn how to do the J Shot… I was just in Alaska, tucked away.”

Over the years, he amassed a wealth of musical knowledge and technical production skills, which he didn’t get during the “Aaron’s Party” days. For example, a stint in an off-Broadway production of “The Fantasticks” from 2011 to 2013 taught him about scoring and musical directing.

“I didn't want to give up on music,” he said. “I had all these fans, and I wanted to prove myself — that I'm not just an entertainer, that I'm a musician, a composer, a conductor. I can orchestrate.”

Carter went through a lot of financial troubles, which ultimately led to him filing a Chapter 7 bankruptcy. This made it difficult for him to get outside funding for his music, prompting him to learn how to do everything himself in order to make the album-making process a little cheaper.

Sixteen-year-old pop stars don’t turn into 28-year-old pop stars easily, but Carter isn’t bothered if his fans still associate him with “Aaron’s Party” and “I Want Candy” rather than “Fool’s Gold.”

“That’s who I am,” he said, adding that “there’s a way to connect the dots.” He’s trying to bridge the gap with new takes on his old songs, like an electronic remix of “I Want Candy," or a sequel to "Aaron's Party" called "The Afterparty."

“I have something to prove,” Carter said. He wants to create music that he can be proud of when he’s older, and says that he doesn’t care about money. “I was driving a 6.0 Lamborghini Diablo when I was 12 years old, we had 12 cars in our driveway, we had 12 houses, five dogs, two 70-foot yachts, 20 golf carts... This stuff didn’t matter to me. Love matters to me.”

“LØVË” matters to him.

Join the conversation about this story »

NOW WATCH: Aaron Carter says his brother Nick saved his life by taking him to rehab

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Netflix's original series receive higher ratings than other Netflix content, suggesting that the streaming service's focus on original content is satisfying its subscribers, according to AllFlicks data shared with Business Insider. This suggests that Netflix's push to focus on original content is working — a strategy that other streaming services should bear in mind. 

According to the data, Netflix's original content rates 11% higher than its licensed content. Netflix originals have an average of 3.8 stars out of 5 stars, compared to other content's 3.4 stars. Original documentaries make up Netflix's highest-rated content category with 4 stars, compared to 3.5 stars for non-Netflix documentaries.

However, it should be noted that this data is not entirely conclusive, as users are not forced to rate the content that they have consumed. People are also especially motivated to leave reviews when they feel very strongly — whether negatively or positively — about an experience, which further skews the data. 

Nevertheless, the higher ratings attributed to original content can serve as an important pointer for both Netflix and competing streaming services. Original content acts as the primary point of differentiation between streaming services. If carried out effectively, it can not only boost subscription numbers, but also user engagement and time spent within the streaming platform. 

In this regard, the relatively high ratings of Netflix's original content vindicate the company's investments in original content — at least from a user satisfaction perspective — even if this investment has occurred at the expense of Netflix's overall catalog size. While Netflix's US catalog has shrunk by 31% since 2014, the streaming service has increased its production of original content by an average of 185% per year since 2012.

The success of Netflix, particularly in this regard, along with other streaming services such as Hulu have made it clear that subscription video on-demand services are surging, which has led many to question if traditional pay-TV even has a place.

Margaret Boland, research analyst for BI Intelligence, Business Insider's premium research service, has compiled a detailed report on subscription video on-demand services that examines how the growth of SVOD is coming at the expense of the pay-TV industry. The report analyzes the state of the pay-TV industry and maps out which demographics are more likely to stop buying traditional TV packages.

The report also discuss the user base, original content offerings, and subscription models of the major subscription streaming services available today, including Netflix, Hulu, and Amazon Video. Finally, it looks at how traditional pay-TV companies and premium channels like HBO and Showtime are addressing the shift to digital viewing, as well as the implications of their response for advertisers.

Here are some of the key takeaways from the report:

• Those abandoning pay-TV packages fall into three main groups: cord-nevers, cord-cutters, and cord-shavers. Whereas video streaming services have found favor with younger viewers in particular, an increasing portion of older subscribers also are leaving behind their pay-TV packages. Still, younger viewers watch four times as much video content online than older viewers.
• Netflix is the largest SVOD service and will continue to dominate the industry with an impressive original content lineup and aggressive expansion plans.
• Amazon is trying to compete with Netflix by investing significant resources in original content.
• Hulu is the third-largest SVOD service, but the only one to offer ad-supported membership tiers. Hulu has been the slowest to roll out original and exclusive content, but it has inked numerous deals in the past year to boost its content library.
• Pay-TV companies are responding to the rise of SVOD services by offering subscribers "skinny bundles" and their own streaming services.

In full, the report:

• Illustrates the fall of the traditional TV package and the rise of broadband only cable subscriptions.
• Lays out the different types of viewers that are leaving behind pay-TV: cord-cutters, cord-shavers, and cord-nevers.
• Examines the leading SVOD services including Netflix, Amazon Prime Video, Hulu, and premium channel offerings from HBO and Showtime.
• Explains the various ways that pay-TV companies are responding to the rise of SVOD services, notably skinny bundles and standalone streaming services.
• Considers what the migration to SVOD services means to marketers.

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 subscription video on-demand services.

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Movies focusing on politics take many forms. They can have a serious stance on a major issue or moment in history, or make fun of the whole system with a satirical plot. Regardless, the genre has over the years produced some of the most gripping, entertaining movies.

One of the best political movies ever made, “All the President’s Men,” just celebrated its 40th anniversary. In honor of the occasion, and with the backdrop of the election, we thought it was a good time to rank the greatest the genre has produced.

Here are the top 22.

SEE ALSO: 8 TV shows you're watching that are probably going to be canceled

22. “The Distinguished Gentleman” (1992)

Eddie Murphy plays a Florida con man who realizes he has been missing out on the biggest con of all: being a politician. Winning a seat in Congress because he has the same name as a longtime Congressman in his district who suddenly passed away before the election, he proceeds to turn DC upside down. Honestly, this is one of Eddie Murphy's last great comedies while at his height in Hollywood.  

21. “Nixon” (1995)

Anthony Hopkins playing Richard Nixon in Oliver Stone's epic look at the 37th president is hit-and-miss at moments, but as with any great actor, in the moments when he's right, the movie thrives. But Stone also examines the shrewdness of Nixon, as one moment he's in the bugged Oval Office tearing apart his legacy and another he's confronted by Vietnam protesters at the Lincoln Memorial and he actively tries to understand what they are against. 

20. “Milk” (2008)

Sean Penn earned an Oscar win for his performance as Harvey Milk, California's first openly gay politician to be elected to public office. The movie chronicles Milk's struggle as a gay activist in San Francisco in the late 1970s and ends with his shocking assassination. As with almost everything he's in, Penn gives a moving performance.

Facebook made a huge push into live broadcasting this week with a slew of product updates, including a new video discovery hub placed front-and-center in its main mobile app. 

It will now be super easy for anyone to create their own livestream, and Facebook CEO Mark Zuckerberg says that he wants people to use Live to "feel connected in a more personal way," whether they're letting distant friends tune into a celebration virtually or getting a behind-the-scenes peek into the life of some celebrity. 

But Live also has some important implications for Facebook's business. 

For one, it helps Facebook plug into the sense of immediacy that it hasn't really mastered until now.

With Snapchat, you need to check your friends' Stories before they disappear. Twitter lets you follow live commentary around events. Live is Facebook's way of giving you reason to open the app at certain times, instead of just when you're waiting in line or procrastinating. The desire to tune into something as its happening will keep you coming back.

As advertisers continue to shift more of their TV ad budgets online, Facebook has put a big emphasis on video generally. And although Facebook hasn't rolled out a way to make money from Live videos yet (and has even been paying creators to make them), the sense of immediacy and hyper-engagement that comes with watching and responding to a stream in real time makes live video even more valuable to brands.

(Snapchat's already started using ephemerality and context to its advantage, charging advertisers big bucks to sponsor its "Live Stories," or pay for its sponsored Lenses and geofilters.)

Mitigating 'context collapse'

Facebook's emphasis on Live video may also help reverse a trend of users sharing less personal original content, a phenomenon that employees call "context collapse" internally, according to Bloomberg. 

"Original broadcast sharing" on Facebook was down 21% year-over-year in mid-2015, according to leaked documents seen by The Information's Amir Efrati, who also reports that the social network found this trend worrisome enough to set up a team in London dedicated to reversing it, through various methods including algorithm tweaks that favor personal posts over links and more prompts for people to write statuses.  

In other words, people aren't sharing as many baby pictures or personal updates as they used to, and that could undercut the original reason Facebook became popular in the first place.

But if lots of people decide to give Live a whirl and post their own streams, original sharing could get a big boost.

Recent research from Cowen shows that people who watch Facebook videos watch videos featuring their friends and family the most (the entertainment and news content categories ranked second and third), so there seems to be a desire there from users to see more of it.

So, Live video checks a lot of boxes for Facebook: It pulls in users, keeps them coming back, encourages them to post more original content, and gives Facebook a big runway for new advertising dollars.

Lights, camera, action.

SEE ALSO: Facebook just proved how serious it is about live video with a huge product update

Join the conversation about this story »

NOW WATCH: Tony Robbins reviews DJ Khaled's keys to success

When 671 people in banana suits packed into a concert venue in Austin, Texas, at this year’s SXSW technology festival, it broke the world record for most people dressed as fruit in one location.

"And we're breaking the record for most Snapchatters at one event!" 26-year-old Cyrene Quiamco cheered into her smartphone camera, as a group of banana-clad social-media stars hooted and bounced behind her.

The clip, of course, showed up in @CyreneQ’s Snapchat Story as she took her followers behind the scenes of the bash, which tripled as a startup launch party, corporate publicity stunt, and Quiamco’s birthday celebration.

Even hundreds of miles from her friends and family in Arkansas, she felt surrounded by some of her closest allies and confidantes.

“The Snapchat community is incredibly tight,” she tells Business Insider. “People drove 22 hours to be there. We’re so close because we grew from each other.”

They're also close because there are so few of them: Quiamco is part of an elite handful of Snapchatters who make their living on the disappearing photo service.

Quitting the day job

Once dismissed as a sexting app, Snapchat has swelled into a messaging and digital-video powerhouse valued at $16 billion. The app's young audiences and its opt-in, in-the-moment experiences has major brands, such as Burger King and Walmart, partnering with creators like Quiamco.

Snapchat stars get paid to temporarily take over a brand's official account on the app, or to create original programming and interactive campaigns, which the brands sponsor.

Quiamco makes between $10,000 and $30,000 a project on average and booked an income in the low six-figures last year, even though she only focused on Snapchat part-time. That potential convinced her to quit her 9-to-5 gig as a graphic designer for Verizon in October.

When she’s not collaborating (or having banana-suited dance parties) with other Snapchatters in real life, she stays connected to a core community through a secret Facebook Group where fellow Snapchat stars swap tips, advice, and the occasional gripe.

One topic that riled many of the group’s roughly 30 members was a recent interview with the CEO of social-media events company DigiTour who said on stage that "there are no Snapchat stars." Sure, there are the DJ Khaleds and Kylie Jenners — already famous people who amassed enormous followings — but she said that digital celebrities won't come from the app. 

Unsurprisingly, the group of artists and storytellers who had built their own huge followings on the social network bristled at the statement, and Quiamco quickly fired off a response on her own Snapchat-centric website.

Not easy to go viral

But even in that post she concedes that Snapchat's platform really does make it nearly impossible to grow an organic audience. With no user suggestion page, no content-discovery portal outside of Snapchat's Discover hub for publishers, and no easy way to share Snaps, users like CyreneQ can’t exactly go "viral" in the typical sense. 

She describes Snapchat stars as "social media superheroes," since they have to grow their audiences without an easy way to be discovered. 

Snapchat itself makes money by inserting ads into media brand's Discover stories, letting brands sponsor "Live" feeds, and charging for custom geofilters or $750,000-a-pop branded Lenses. Snapchat sees itself as a messaging tool between friends combined with a storytelling platform, but there’s none of the influencer-company alliance that you see on YouTube or Vine because it’s not relying on their content to bring in ad dollars.

Even Snapchat’s biggest native stars haven’t had anything beyond the most cursory official contact with the company, if that.

But despite the downsides, the high barrier to discoverability is also part of what makes people like Quiacamo so valuable to brands. Getting big on Snapchat requires creativity and authenticity and users essentially build their followings by word of mouth. So those audiences are often rabidly dedicated, staying engaged through a star’s sponsored content and willing to follow as they ping across corporate accounts.

And because it's really hard to get popular, those who have gotten their names out there have become a kind of exclusive squad, consisting of less than a dozen native creators who can actually make a living from the app. 

As the service swells into a behemoth, we talked to a handful of top Snapchat creators who are actually getting hefty payouts to ask them how they got started and what the life of a full-time Snapchat star is really like:

SEE ALSO: Facebook won a bidding war against 2 other companies for a hot new app that could help it fend off Snapchat

Christine Mi assumed she'd use her economics degree from Yale to go into finance or consulting. Instead, she's a Snapchat artist.

Mi first started creating elaborate Snapchat doodles as a way to procrastinate on her homework and amuse her friends. But a few months after some artwork she'd posted on Tumblr went viral in March 2014, an agency reached out and asked her if she'd be interested in working with brands. 

By the beginning of her senior year in college, she had already started to see the cash flowing in, but still applied to a bunch of "traditional jobs," sealing an offer at a respected consulting firm in New York City. But she turned it down to focus on Snapchat full-time when she graduated last fall. 

"It seemed like a once-in-a-lifetime opportunity," Mi tells Business Insider. "I wasn't sure how much of a fad this would be — whether it would be relevant for about two years and then just go away — so I really didn't want to regret not riding this wave as it was happening." 

So *is* it going away?

Not if you ask one of the handful of agencies and networks now touting a specialty in Snapchat marketing, including Giant Spoon, Naritiv, or VaynerMedia. 

Nick Cicero, the CEO of creator-network company Delmondo, which specializes in Snapchat analytics, says that he’s seen an incredible increase in advertiser interest, with his startup partnering with more than a dozen new major brands in the last month, including Spotify, AT&T, and Unicef.

“We’re in the top of the first inning with Snapchat,” he says. “We haven’t even gotten into the big wave of influencer campaigns yet.”

As for Mi, she says that in the last year she's made an income in the low-six figures — "definitely more than I would have if I had taken the consulting offer" — through projects with the likes of Bloomingdales, Coca-Cola, and DreamWorks.

She's had one-day gigs that earn a bit over $10,000, but that's juxtaposed with her work for VH1, for example, which spanned an entire season of their TV show "Scream Queens." (She took over their account to post each time it aired.) 

Above is a set of Snapchat geofilters that Mi designed for the DreamWorks movie "Kung Fu Panda 3."

She and other Snapchat stars say that the metrics that brands care about are number of views, how far viewers get in their Stories, and the number of screenshots. 

Where to find her: @Miologie 

With more than 400 scripted series on television last year, there is no time to waste.

More outlets are creating this TV content, from streaming-video companies like Netflix, Amazon, and Hulu to cable networks increasingly getting into the scripted-show game, like Bravo, E!, and Spike.

But what's worth your time and what isn't? In times like this, you should let the experts watch so you don't have to.

After all, they can't all be winners.

Metacritic keeps track of a curated group of critics, assigns each review a number according to how positive or negative it was, and then creates a weighted average score for each show.

Here are the 20 worst-reviewed TV shows in 2016 so far, using Metacritic scores.

Note: Only shows that have been reviewed at least seven times qualify for this list.

SEE ALSO: RANKED: The 20 best TV shows of 2016 so far, according to critics

DON'T MISS: 8 TV shows you're watching that are probably going to be canceled

20."Shades of Blue" Season 1 (NBC)

19. "The Family" (ABC)

18. "Angel From Hell" Season 1 (CBS)

Business Insider Films' first documentary, "League of Millions," is available on iTunes and Amazon.

In this scene from the film, Team Liquid players reveal how they spend their money and the difficulties of playing video games at the highest competitive level.

In "League of Millions," it's the middle of the 2015 League of Legends season. World famous Team Liquid has one goal: winning the World Championship. Six-figure salaries. Grueling 18-hour days. Thrilling victories and devastating defeats. Five young men from vastly different cultures, united by a single dream: to be the best team in the world. 

League of Legends is a five versus five team game where each team tries to destroy the other team's "nexus" or home base. It's one of the most popular computer games in the world with 27 million people playing every day.  

Directed by Sam Rega. Edited by Josh Wolff. 

Follow TI: On Facebook

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Books can be incredibly powerful. They have the ability to suck us in, take us on adventures, and influence the way we think.

They can teach us, move us, give us new perspectives, and help shape us. And the most powerful ones change our lives forever.

I asked my Business Insider colleagues to share the one book that has significantly influenced them. Here's what they said:

SEE ALSO: 24 books that will make you a more well-rounded person

'The Road' by Cormac McCarthy

"This book gave me a real sense of my own mortality. I'm usually grateful for this, but not always! It also made me appreciate fatherhood more." —Nicholas Carlson, editor-in-chief of INSIDER

Amazon synopsis: A father and his son walk alone through burned America. Nothing moves in the ravaged landscape save the ash on the wind. It is cold enough to crack stones, and when the snow falls it is gray. The sky is dark. Their destination is the coast, although they don't know what, if anything, awaits them there. They have nothing; just a pistol to defend themselves against the lawless bands that stalk the road, the clothes they are wearing, a cart of scavenged food — and each other.

"'The Road' is the profoundly moving story of a journey. It boldly imagines a future in which no hope remains, but in which the father and his son, "each the other's world entire," are sustained by love. Awesome in the totality of its vision, it is an unflinching meditation on the worst and the best that we are capable of: ultimate destructiveness, desperate tenacity, and the tenderness that keeps two people alive in the face of total devastation."

BUY IT HERE »

'The Tao of Pooh' by Benjamin Hoff

"I read this book in college, and it completely changed my perspective on the world. It's a fun primer on the Eastern philosophy of Taoism, and eye-opening for people (like me) who sometimes try too hard and would be better off just relaxing and going with the flow. I still remind myself that nothing's really good or bad; it's just another interesting thing on another day that we should all be grateful for." —Jenna Goudreau, deputy editor

"This book introduced me to the idea that simplicity isn't the enemy of satisfaction; it's the essence of it. The inclusion of such familiar and beloved characters also helped the ideas stick in my mind." —Christina Sterbenz, weekend editor

Amazon synopsis: The how of Pooh? The Tao of who? The Tao of Pooh!?! In which it is revealed that one of the world's great Taoist masters isn't Chinese — or a venerable philosopher — but is in fact none other than that effortlessly calm, still, reflective bear. A. A. Milne's Winnie-the-Pooh! While Eeyore frets, and Piglet hesitates, and Rabbit calculates, and Owl pontificates, Pooh just is.

"And that's a clue to the secret wisdom of the Taoists."

BUY IT HERE »

'Anna Karenina' by Leo Tolstoy

"It was the rare work of fiction that actually changed how I saw the world. It made me want to be a more moral and better person." —Paul Schrodt, entertainment editor

Amazon synopsis: "Considered by some to be the greatest novel ever written, 'Anna Karenina' is Tolstoy's classic tale of love and adultery set against the backdrop of high society in Moscow and Saint Petersburg.

"A rich and complex masterpiece, the novel charts the disastrous course of a love affair between Anna, a beautiful married woman, and Count Vronsky, a wealthy army officer. Tolstoy seamlessly weaves together the lives of dozens of characters, and in doing so captures a breathtaking tapestry of late-nineteenth-century Russian society. As Matthew Arnold wrote in his celebrated essay on Tolstoy, 'We are not to take 'Anna Karenina' as a work of art; we are to take it as a piece of life.'"

BUY IT HERE »

Rev. Al Sharpton dropped by "Saturday Night Live" to give the presidential candidates "black voter approval ratings."

Appearing on 'SNL' this week, the MSNBC host appeared alongside a satirical version of himself, played by SNL cast member Kenan Thompson, and rated four of the remaining presidential candidates.

While Sharpton gave former Secretary of State Hillary Clinton a high score for her family's long ties with the black community, Sharpton joked that Sen. Bernie Sanders seemed a little out of touch with black voters.

"Senator Sanders gets a score of 6.3. Yes, he was active in the civil rights movement. But for some reason, he seems like the kind of person who still calls Muhammad Ali 'Cassius,'" Sharpton said.

"He's from Vermont. It's a beautiful state, but never has a black person said 'Hey, I've got time off this weekend, anybody want to go to Vermont?'" Thompson added.

Republicans received less favorable scores.

Sharpton gave Sen. Ted Cruz a rating of 2 on the black voter approval scale, but reserved his lowest rating for Republican presidential frontrunner Donald Trump.

"Right now Donald Trump has an approval rating on negative 1,048. But that could go down," Sharpton said.

The MSNBC host did not rate Ohio Gov. John Kasich, who is also a presidential candidate.

Watch the clip below, via SNL:

SEE ALSO: Fox News anchor pushes Obama on ISIS comments: 'Do you worry about terrorism the way Americans do?'

Join the conversation about this story »

NOW WATCH: ‘The images are worth a thousand words’: Trump shares a meme attacking Ted Cruz’s wife

After two weeks at the top, "Batman v Superman: Dawn of Justice" has been taken down by the Melissa McCarthy comedy, "The Boss."

The film — in which McCarthy plays a egotistical business tycoon who loses everything due to insider trading and then must find a way to get back to the top — took in an estimated $23.5 million in its first weekend, according to Variety.

The comedy narrowly edged out "Batman v Superman," which earned $23.4 million.

Both films were neck and neck the whole weekend.

"The Boss" beat out "Batman v Superman" on Friday, making $2 million more with an estimated $8.1 million. Then on Saturday, "Batman v Superman" rebounded by taking in $10.6 million over the comedy's $10 million.

However, "The Boss" surged late, according to studio projections, to win the weekend (final box office tally on Monday will show if these estimates hold).

Though this marks the third No. 1 opening for a McCarthy-headlined movie (the others were "Identity Thief" and "Spy"), "The Boss" wasn't a winner for critics, and its take this weekend is the third-lowest opening of the year.

Box office should rebound next weekend with the release of Disney's "The Jungle Book."

Now in theaters for three weeks, "Batman v Superman" has earned over $296 million in theaters.

SEE ALSO: An R-rated "Batman v Superman" cut may be coming to theaters

Join the conversation about this story »

NOW WATCH: The trailer for the first 'Star Wars' spin-off movie 'Rogue One' is here

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Victoria's Secret has figured out how to turn lingerie into a $6 billion business.

A huge reason for the company's success is its very successful marketing strategy. It's known for being the beacon of all things sexy.

But sexiness was depicted differently when Victoria's Secret was born in 1977 when it was founded by Roy Raymond.

Here's how the brand has changed — in photos.

SEE ALSO: Victoria's Secret has a strategy for casting models that's worth $6 billion

Then: Victoria's Secret actually resembled a boudoir.

"Raymond imagined a Victorian boudoir, replete with dark wood, oriental rugs, and silk drapery. He chose the name 'Victoria' to evoke the propriety and respectability associated with the Victorian era; outwardly refined, Victoria's 'secrets' were hidden beneath. In 1977, with $80,000 of savings and loans from family, Raymond and his wife leased a space in a small shopping mall in Palo Alto, Calif., and Victoria's Secret was born," Naomi Barr wrote on Slate.

Now: Hints of its past are occasionally present in its Facebook photos.

Then: You would have been able to find this sort of image in a Victoria's Secret ad.

The overtly provocative nature of Raymond's Victoria's Secret was slightly altered when Les Wexner took the helm of the brand — but make no mistake, lingerie still abounded.

There will be a lot of discussion about the legacy of "American Idol" after it names its final winner and the stage lights go off on Thursday night.

After 15 seasons, the singing-competition show has inspired countless imitators, both failed and thriving, from "The Voice" to "America's Got Talent." And in its heyday, it reached nearly 40 million live viewers — a feat no TV show will ever reach again in the DVR, delayed-viewing, multi-platform world we've entered.

But possibly the show's biggest draw was its ability to pluck Americans out of obscurity and make them stars. This was proved over and over again with not just its winners, but many of the contestants who found fame even without the guaranteed recording contract.

That is no simple feat. "The Voice" is in its 10th season and has still yet to create a music superstar.

In celebration of "Idol's" legacy, here's a look at the competition's most successful winners and alums:

SEE ALSO: RANKED: The 20 worst TV shows of 2016 so far, according to critics

DON'T MISS: The 14 biggest comedy power couples in Hollywood

No. 23. Season 9 winner: Lee DeWyze (2010)

Estimated net worth: $50,000

No. of albums: 6

Grammy awards: N/A

Other projects: DeWyze has actively supported and performed for several charities. In 2012, he offered his song "Fight" for free to anyone who donated to The Heart Foundation benefiting heart-disease awareness.

No. 22. Season 6 sixth-place: Sanjaya Malakar

Estimated net worth:$300,000

No. of albums: 3

Grammy awards: N/A

Other projects: In 2007, Malakar appeared in a one-minute parody short "I Am Art," co-produced by Will Ferrell, in which his character claims that he made up the Sanjaya persona as a gag. Malakar had to later explain the film was just a joke. In 2014, he also hosted the TV Guide Channel show "Idol Stars: Where Are They Now?" and competed on the ABC reality show "I'm a Celebrity...Get Me Out of Here!"

Malakar also co-wrote the book "Chicken Soup for the American Idol Soul," and penned an autobiography titled "Dancing to the Music in My Head: Memoirs of the People’s Idol."

No. 21. Season 10 ninth-place: Pia Toscano (2011)

Estimated net worth:$650,000

No. of albums: N/A

Grammy awards: N/A

Other projects: Toscano has released three singles and has collaborated on songs with several artists, including co-writing a song for Aubrey O'Day. In Summer 2014, she performed as a backup singer for Jennifer Lopez.

Since his self-imposed retirement from directing movies in 2013, Steven Soderbergh has not eased back on his workload.

He was an executive producer on an Oscar-winning documentary, "Citizenfour," and was executive producer/cinematographer on the "Magic Mike" sequel, "Magic Mike XXL." But the terrain he's been most interested in exploring is television.

Along with directing HBO's Liberace biopic, "Behind the Candelabra," starring Michael Douglas and Matt Damon, since 2014 he's also directed every episode of the acclaimed Cinemax series "The Knick," starring Clive Owen as an unorthodox surgeon at a New York City hospital in the early 20th century.

Now for his latest TV project, the Oscar-winning director is staying behind the scenes and introducing the mainstream to the talents of some of independent film's best and brightest.

"The Girlfriend Experience" (premiering on Starz on Sunday), is an adaptation of Soderbergh's 2009 film of the same name that looks at the life of a high-end Manhattan call girl as she interacts with her wealthy clients. But what sets this call girl apart from others is her willingness to have an emotional connection with her clients, not just sex — known in the industry as a "girlfriend experience."

Soderbergh was pitched the TV idea by producer friend Philip Fleishman. The director saw potential to tell the story on the cheap, as he did with the movie version, which was made for just over $1 million.

But Soderbergh didn't want to direct the TV version. (He is an executive producer on the show.) Instead, he wanted the entire series to be made by two filmmakers, one male and one female.

He called on indie film veteran Lodge Kerrigan and actress/director Amy Seimetz, whose work has been a mainstay in the low-budget-film world for over a decade.

"Soderbergh called me to do it and I was like, 'I've never directed television,' and he was like, 'That's the best way to start,'" Seimetz told Business Insider at this year's Sundance Film Festival.

The plan was not to take on the series in a traditional sense, but to use Kerrigan and Seimetz's experience as independent filmmakers who know how to stretch a dollar to basically create a low-budget TV show.

"That's the reason why Lodge and I got executive producer credit on the show, too," Seimetz said. "In TV, the power is where the money goes, and when you're working at this budget and you want it to appear on screen, the director and the EP have to agree where the resources are being allocated properly."

Seimetz wouldn't divulge the show's budget, only saying that by TV standards it's low, but in the world of indie films it's a good amount of money.

"For the cost of one episode, I could go out and make numerous movies," she said. "But at this level, you can't ask people to take $100 a day. They are getting decent union pay on this."

Like the movie, Starz's "The Girlfriend Experience" is shot with natural lighting on inexpensive cameras and has a cast of character actors. And the show's lead is a relative newcomer, Riley Keough. (Porn star Sasha Grey was the lead in the movie version.) Keough plays a 20-something who spends her days as a law student and nights as a call girl.

But creatively, the show extends further than the movie did, something Soderbergh encouraged Seimetz and Kerrigan to do.

"It was always supposed to be taking this topic and making something new," Seimetz said.

And to do that, Seimetz and Kerrigan spent a lot of time interviewing call girls, learning that portraying the girlfriend experience for a client isn't just about gaining money and power.

"They make a lot of money, yes," Seimetz said. "Some of these women don't take a client for less than $10,000. But I think that's not a motivating factor for all women. I think it's a rush of being in a secret world. And I don't know if they seek power. They like getting into the intimate space with men."

Though Seimetz has never asked Soderbergh, she believes his motivation behind having a male and female perspective in the director chair was giving the show a different feel than most TV.

"It's very common, the idea of the male gaze and how that is portrayed in cinema and TV," she said. "I think it's interesting that he wants to see the storytelling told by both a male and female, if there's a difference. Is there a difference between a female gaze and a male gaze?"

"The Girlfriend Experience" premieres on Sunday on Starz.

SEE ALSO: RANKED: The 20 best TV shows of 2016 so far, according to critics

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If you've ever wondered how your favorite star can look forever resistant to age, well, it turns out there's some technique behind it.

That actor may be getting digitally retouched.

Special effects aren't just used to create huge explosions or herds of dinosaurs that trample everything in their path. They also can and do take pimples off of teen stars, erase years off actors' faces, and elongate bodies to create slimmer physiques.

"Nobody looks like what you see on TV and in the movies — everybody is altered," Claus Hansen, a beauty-work pioneer at the video-retouching company Method Studios, told Mashable.

Many actors require the use of digital retouching (or "beauty work"), though it's done very secretly.

"For a top actress, it's usually non-contractual with us, so that that document never gets out," a top entertainment attorney said anonymously in Vulture's recent feature on digital retouching. "It's in everyone's best interest that she not look haggard and that her jowls don't look too old or whatever."

The article points to the "suspiciously plasticky" 2010 film "The Tourist," which starred Johnny Depp and Angelina Jolie.

Here's what Vulture and Mashable's stories expose about the secret use of digital retouching in movies and TV:

SEE ALSO: RANKED: The 20 worst TV shows of 2016 so far, according to critics

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Digital retouching isn't just for the ladies.

Michael Shannon, who played Zod in "Batman v Superman," said digital retouching could be a leading man's best friend, too.

"In postproduction, if they want your nose to be a little smaller or a little bigger, that's up to them, man," Shannon said. "Some attractive person gets out of a swimming pool dripping wet? Nobody wants to see how they really look: It's fantasy."

And at age 63, Paul Reubens was emphatic about casting a younger actor to play his iconic character Pee-wee Herman in Netflix's "Pee-wee's Big Holiday." But digital retouching made it possible for him to play the timeless character again.

"Pee-wee doesn't work, to me, with age mixed into it," Reubens told The New York Times. "So I knew I wanted digital retouching."

It sure isn't cheap.

"That was my biggest concern from the get-go, with [producer Judd Apatow], when it came to budgeting," Reubens explained of the cost of digital retouching for "Pee-wee's Big Adventure." "Because it costs a fortune. I could have had a face-lift and we would have saved $2 million."

The technique is also used to make the young and beautiful even younger and more beautiful.

Hollywood veterans don't hold the monopoly on digital retouching. Producers are using the tech on young actors as well. Pimples, for example, don't have to be an embarrassing situation. On "Glee," a director revealed, "There was a pimple pass on most episodes."

And even the best-looking people on the planet, models, get a helping hand from the tech. 

Visual-effects supervisor Jim Rider, whose credits include "Vinyl" and "Foxcatcher," said, "I've done beauty retouching on women who are practically supermodels."

We're now just eight months away from the premiere of "Rogue One: A Star Wars Story," and Disney has finally released the first official teaser trailer for the standalone film.

Taking place before the events of the 1977 original film, "Rogue One" follows Jyn Erso (Felicity Jones) and a group of Rebel fighters on a mission to steal plans for the Death Star.

While the title for the first film in the "Star Wars" anthology series was announced in March 2015, little information has been released since then, but the new trailer provides a glimpse into the rebellion.

We've compiled what we know — along with a few popular rumors — to hold us over until more clips are released.

Here is everything we know about "Rogue One":

SEE ALSO: The first trailer for the next 'Star Wars' movie 'Rogue One' is here

The film is the first in the "Star Wars Anthology," a series of standalone films, which will include movies dedicated to Han Solo and bounty hunter Boba Fett.

Gareth Edwards, known for the 2014 "Godzilla" reboot, will direct the film.

The script was written by Chris Weitz ("About a Boy"), based on an idea from visual-effects supervisor John Knoll. Gary Whitta ("After Earth") was originally hired to write the screenplay, but he left the project after writing the first draft.

Source: The Hollywood Reporter

Would a Han Solo who's not Harrison Ford be the same sarcastic hero every "Star Wars" fan cherishes?

What would "Lord of the Rings" look like with Nicolas Cage in one of the main roles?

Characters become iconic thanks in large part to the actors who bring them to life, and it's often hard to imagine anyone else in the role after the fact.

But some actors are fired from a role, some leave because of other commitments, and some just don't accept the offer.

When an offer is first presented, it can be hard to see how successful a film might become. Some actors regret turning down a project, but others, like Jack Nicholson, know that it can be the right choice, no matter how popular or critically adored the film might become.

Here are 30 iconic characters that were almost played by different actors:

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Leonardo DiCaprio — Dirk Diggler in "Boogie Nights"

Played by: Mark Wahlberg

After watching him in "The Basketball Diaries," Paul Thomas Anderson wanted DiCaprio to star in "Boogie Nights." DiCaprio turned it down to appear in "Titanic," but recommended his friend and "Basketball Diaries" costar Mark Wahlberg.

DiCaprio told GQ in 2008 that he regretted turning down the role. "'Boogie Nights' is a movie I loved and I wish I would've done." When asked if he would reverse his decision if he could, DiCaprio said, "I'm not saying I would have. But it would have been a different direction, career-wise. I think they're both great and wish I could have done them both."

DiCaprio was also offered $20 million by Lionsgate to portray crazed serial killer Patrick Bateman in "American Psycho," even though director Mary Harron wanted Christian Bale in the role. She was replaced by director Oliver Stone, but DiCaprio and Stone couldn't agree on a creative direction, so DiCaprio left to film "The Beach." Harron returned to the project and Bale was cast.

Al Pacino — Han Solo in "Star Wars"

Played by: Harrison Ford

During the "An Evening with Pacino" event in 2013, the actor revealed that he could have played the iconic role of Han Solo in the "Star Wars" franchise.

"It was mine for the taking, but I didn’t understand the script," he said.

He also revealed that he turned down roles in "Apocalypse Now" and "Pretty Woman," eventually played by Marlon Brando and Richard Gere, respectively. 

Marilyn Monroe — Holly Golightly in "Breakfast at Tiffany's"

Played by: Audrey Hepburn 

Truman Capote, the author of "Breakfast at Tiffany's," wanted Marilyn Monroe to play Holly, but Monroe turned it down because she was warned that portraying Holly might be bad for her image.

If you've been waiting to see more of the "Suicide Squad," the next trailer for the movie is here.

The film's stars Will Smith, Jared Leto, Margot Robbie, and Cara Delevingne showed up at the 2016 MTV Movie Awards to debut new footage for the movie and it shows off a lot more of the Joker, Harley Quinn, and even Batman.

"Suicide Squad" follows a group of DC villains who are recruited to go on a suicide mission for the government to take down a mysterious villain. The film will be out in theaters August 5.

Check out the new trailer below:

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Not only did the MTV Movie Awards just give us a new trailer for this summer's "Suicide Squad" movie, but the awards' show also gave us a brand new trailer for the first "Harry Potter" spinoff movie, "Fantastic Beasts and Where to Find Them."

Starring Oscar Winner Eddie Redmayne as magizoologist Newt Scamander (the author behind one of Harry's textbooks), the film will be set in New York City in 1926. He comes to NYC from London with a briefcase full of magical creatures.

Some of the creatures wind up getting loose and its up to Scamander to get them back.

"Fantastic Beasts" will be in theaters November.

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