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Twitter invested 'around $70 million' in music-streaming service SoundCloud (TWTR)

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Jack Dorsey

Twitter invested "around $70 million" in music-streaming service SoundCloud, according to Recode's Peter Kafka and Kara Swisher.

The investment was part of a new ~ $100 million round that will reportedly value the streaming service somewhere in the neighborhood of $700 million.

Twitter and SoundCloud have worked together before: In 2014, Twitter announced that users would be able to share SoundCloud tracks within the Twitter feed, enabling entire songs to be played without leaving the social network.

Twitter CEO Jack Dorsey confirmed to Recode that the company owns a stake in SoundCloud.

“Earlier this year we made an investment in SoundCloud through Twitter Ventures to help support some of our efforts with creators," Dorsey told Recode. "They've been great partners of ours over the years and their community-supported approach mirrors ours in many ways."

SoundCloud, a longtime favorite of artists and music fans for promoting and discovering new music, was last valued at around $700 million in 2014, when it raised $60 million. For a long time, SoundCloud operated as a free streaming service, which helped make it popular among new artists. It introduced advertisements in mid 2015 in preparation of the launch of its subscription streaming service, which launched in March 2016 to compete with Spotify and Apple Music.

SoundCloud Go

Business Insider has reached out to SoundCloud for comment.

You can read the full scoop over at Recode.

SEE ALSO: Microsoft is buying LinkedIn for $26.2 billion

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RANKED: All 17 Pixar movies from 'Toy Story' to 'Finding Dory'

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Not since Walt Disney has there been a figure in the animation world who has transcended the medium like John Lasseter and the studio he oversees, Pixar.

Yes, Jeffrey Katzenberg and DreamWorks Animation had their time, but for over 20 years, Lasseter's Pixar has consistently put out box-office hits (the company has earned close to $10 billion worldwide) and created stories that affect us on an emotional level that we can't wait to experience again and again.

From the "you've got a friend" tale of the "Toy Story" movies to a commentary on how we need to protect our planet in the multilayered "WALL-E," Pixar movies are much more than kids' movies or cartoons. Which is exactly how ol' Walt went about it.

Now that we've seen Pixar's latest, "Finding Dory" (out June 17), we've taken on the gargantuan task of ranking all 17 Pixar releases including "Dory" — scroll down to find out how the sequel stacks up and what's the best of them all.

SEE ALSO: 18 movies that never got a sequel but deserve one

17. 'Cars 2' (2011)

Taking Lightning McQueen (voiced by Owen Wilson) and Mater (Larry the Cable Guy) away from Radiator Springs and going international (plus making Mater a spy) didn't grab critics. This sequel became the first "rotten" Pixar movie on Rotten Tomatoes. Deservedly.

  



16. 'A Bug’s Life' (1998)

In the second movie ever released by Pixar, an ant named Flik (voiced by Dave Foley) sets out to find others to help save his colony against grasshoppers and ends up recruiting a unique group of allies.

Though the movie was successful at the box office, with the release of DreamWorks' "Antz" a month earlier, you're more likely to remember the Lasseter-Katzenberg feud than the films. 

 



15. 'The Good Dinosaur' (2015)

Perhaps one of the more serious stories in the Pixar inventory, this coming-of-age tale about an Apatosaurus and his human friend Spot trying to return home didn't catch on nearly as much as Pixar's other release in 2015, "Inside Out."

Burnout may have been at play here, but mostly Pixar challenged its core audience with a darker story than they were used to.

 



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Apple exec and rock star Trent Reznor slams YouTube: 'built on the backs of free, stolen content' (AAPL, GOOG, GOOGL)

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Trent Reznor

At least one person at Apple isn't afraid to directly criticize Google's YouTube.

The Apple Music brain trust — internet services boss Eddy Cue, VP of content Robert Kondrick, Apple Music chief creative officer Trent Reznor, and longtime industry figure Jimmy Iovine — gave a remarkably candid interview to Billboard to explain the recent changes to Apple Music, its streaming-music service.

When prompted, Reznor couldn't help take a shot at YouTube, one of Apple Music's main competitors.

He said its business was "very disingenuous" and that it got big "on the backs of free, stolen content."

Reznor, who first became famous as the leader of the band Nine Inch Nails, clearly feels strongly about the topic. Here's the full quote:

Personally, I find YouTube’s business to be very disingenuous. It is built on the backs of free, stolen content and that’s how they got that big. I think any free-tiered service is not fair. It’s making their numbers and getting them a big IPO and it is built on the back of my work and that of my peers. That’s how I feel about it. Strongly. We’re trying to build a platform that provides an alternative — where you can get paid and an artist can control where their [content] goes.

While you can quibble with some of his specifics — Google bought YouTube for $1.65 billion long before the company would have gone public — his main point rings true. A lot of accounts share music they haven't properly licensed.

The rest of the interview is less combative but just as illuminating. The gang of four commented on how the Beats-Apple integration is going after Apple purchased the company for $3.2 billion just over two years ago, and the possibility that Apple might phase out paid iTunes downloads — "there's no end date," says Cue.

The whole interview is worth a read at Billboard >>

SEE ALSO: Apple is reportedly considering killing off iTunes music downloads entirely

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These are the best automobiles Jerry Seinfeld has picked for 'Comedians in Cars'

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Barack Obama Jerry Seinfeld Driving Cars Comedians Coffee

Jerry Seinfeld just released the trailer for season 8 of "Comedians in Cars Getting Coffee," his internet talk show of a delightfully-simple premise available on Crackle to premiere Wednesday, June 15.

Guests for the upcoming six episodes  will include "Last Week Tonight' host John Oliver, Saturday Night Live creator Lorne Michaels, director and screenwriter Judd Apatow, and comedians Margaret Cho, Jim Gaffigan, and J.B. Smoove.

And the cars: a Mercedes 300SL gullwing, Pontiac Firebird, Volkswagen Camper, Triumph TR3, Studebaker Avanti, and a Mazda Cosmo.

Seineld, a noted car enthusiast and collector of Porsches, is a man of refined automotive taste. He claims to pick cars that match the personality of his guests, and so far his choices have been on point.

Here's a look at some of the best so far.

SEE ALSO: Jerry Seinfeld's Porsches shine at an auction that might be the peak for classic car market

Jerry Seinfeld claims he likes to match the vehicle choice with the guest's personality. This un-restored VW flatbed somehow suited former 'Seinfeld' co-star Michael Richards very, very well.



Taking advantage of the Aston Martin DB5's Bond connection, Seinfeld called guest Julia Louis Dreyfus "The James Bond of Comedy."



A Plymouth Road Runner Super Bird was also the perfect choice for Will Ferrell; decidedly silly but endlessly lovable.



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Donald Trump once planned to build the largest movie studio in the US, but it fell apart

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Donald Trump

Three years before he declared his run for the presidency, Donald Trump had his eyes set on another radically ambitious personal venture — the developement of an 800-acre studio in Hampstead, Florida, which "would have been the largest film and TV production campus in America," according to The Hollywood Reporter.  

The publication details how Trump came to the idea of constructing the studio in April 2012, through his friend Joe Martinez, "a former cop and background actor... who happened to be running for mayor of Miami." Martinez proposed that Trump help him revisit an abandoned 10-year-old plan to convert an airplane hangar in Florida into a small film studio.

Trump agreed to look into it — under his own conditions.

"But Trump, being Trump, thought Martinez should think bigger," THR writes. "Instead of merely turning an old airplane hangar into a rinky-dink studio, Trump envisioned an entire studio city, built on 800 acres of undeveloped, government-owned land in Homestead — a rural, economically depressed part of Miami-Dade that still was recovering from Hurricane Andrew two decades earlier."

Trump then contracted New York architect John Fotiadis to develop renderings for the enormous Trump World Studios campus, which would have included "15 backlots, multiple sound studios ranging in size from 25,000 to 250,000 square feet (for a total of 1 million square feet of indoor space,) and even a housing complex for employees." (Fotiadis's studio blueprints can be seen in the THR article.)

As their plans started to come closer to fruition in the following months, however, Trump and his contractors then hit a series of road blocks. His team reportedly had trouble acquiring the contiguous land necessary to build the whole campus, as some properties were already purchased by other entities or already in use by the US government. 

Despite recieving a particularly memorable bit of assurance from director Michael Bay — "He told me he could have shot 'Transformers' [at Trump World Studios] if it were available," Martinez said— the barriers to progress soon became unassailable. Martinez lost his run for mayor of Miami to a candidate who openly opposed Trump World Studios, and the studio's proposed location happened to be next to a US Air Force Reserve base, where the taking off of military jets would have made for less-than-ideal filming conditions.

"I actually said, 'Can you move the Air Force base?'" Trump admitted, according to THR.

But by November 2012, the Air Force still held its ground, and Trump's lofty project "was officially dead." 

SEE ALSO: These $180 Donald Trump piñatas are selling like crazy

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The O.J. documentary uncovers Nicole Simpson's horrifying 911 calls

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"O.J.: Made in America" is hardly just about O.J. Simpson, which is what makes it so powerful.

Director Ezra Edelman has used Simpson's rise and fall to examine the troubled relationship African-Americans in Los Angles have had with the police for decades, and he does so with moving storytelling.

In part one, we see the Watts riots, a powerful moment in showing the disconnect between citizens and police, but in part two, which aired Tuesday, we are not just shown the infamous Rodney King beating and the riot that followed when police officers were found not guilty. We also see other incidents in which the actions of police in the black community didn’t get the press of the King beating but helped build the powder keg that would ignite following the acquittal of those particular officers.

There's the 1979 Eula Love incident in which a dispute over a $69 gas bill led to two officers emptying both of their six-shot revolvers on Love, killing her. Then 13 days after King was beaten by police, 15-year-old Latasha Harlins, following an altercation with a Korean-American store owner named Soon Ja Du, was shot and killed by Du. Du only received 5 years probation and 400 hours of community service, and no prison time, for the death.

LA Riots Nick Ut APIt's important that Edleman educates us about these landmark moments in LA because to tell the O.J. Simpson story, you also have to explore the community not far from his home (and how he kept a blind eye to black residents until he needed them).

By part two, Simpson is retired from the NFL and living comfortably far away from any police brutality. In fact, he's built a great relationship with the cops in Brentwood, where he now lives with his new wife, Nicole.

That relationship with the police would come to benefit Simpson when Nicole started making 911 calls about Simpson beating her.

In one instance in 1989, an officer comes to Simpson’s estate to find Nicole huddling in the bushes, barely clothed and beaten, telling the officer, “He’s going to kill me...”

It wasn’t the first time. It was actually the eighth time officers had responded to Nicole’s calls to come to the house. The officer of the 1989 call recounts the incident for the documentary, saying that Simpson fled in his car. Thanks to his relationships at the LAPD and some sweet-talking to Nicole, Simpson only had to do 120 hours of community service.

Nicole even spoke directly to the CEO of Hertz to let him know that all the stories about Simpson being a wife-beater were false.

So as Edleman builds the narrative about why the black community decided to let LA burn once more following the Rodney King beating verdict, he's also showing how Simpson had escaped the color of his skin, at least in one sense, by getting a slap on the wrist for his abuse (when the average black man in LA would face much worse).

oj simpson nicole brownBut things only get more chilling.

Simpson’s infidelity is less hidden. Once he even says he’s with another woman because Nicole has gotten “too fat” from her pregnancy.

Nicole finally separates with Simpson, having an on-and-off relationship with another football great (and Simpson friend) Marcus Allen.

There’s even a recollection in part two of a former acquaintance of Nicole’s, who describes how Simpson once showed up at Nicole’s house and revealed that he spied on Nicole and the man having relations the night before.

Simpson is now unhinged. For a man who craves control, not being able to have Nicole under his spell any longer has made him unstable — as we can hear in those earlier horrific 911 calls in the movie.

Nicole divorces Simpson on May 22, 1994. Less than a month later, she and Ron Goldman are found dead on her front steps.

Part three of “O.J.: Made in America” airs on ESPN on Wednesday.

SEE ALSO: The O.J. Simpson documentary exposes dark secrets from the athlete's early years

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Here's the movie that will save the struggling summer box office

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Things haven't been so great at the summer box office since our last power ranking.

"X-Men: Apocalypse" nosedived after its opening weekend and "Alice Through the Looking Glass" performed nowhere near the original movie.

It's time for sequels to have a comeback, and Hollywood is happy to see that a Pixar movie is on deck.

With "Finding Dory," the sequel to the monster 2003 hit "Finding Nemo," opening on Friday, we're sure to see big box-office dollars, which we really haven't seen since "Captain America: Civil War" opened in early May.

Here's the latest ranking of the big Hollywood titles of the summer.

Read all of our summer movie power rankings.

SEE ALSO: 41 movies you have to see this summer

10. “Alice Through the Looking Glass” (May 27)

In a year dominated by Disney titles, the house that Mickey built finally released a dud. The "Alice in Wonderland" sequel has not found an audience, having only taken in just $62.5 million in the US. 

Though this movie just isn't as good as the original, it probably also got hurt at the box office by its star Johnny Depp being in the news for allegedly physically abusing his estranged wife, Amber Heard.  

Last Ranking: 7th



9. “X-Men: Apocalypse” (May 27)

With a respectable $79.8 million opening over Memorial Day weekend, things were looking good for the latest X-Men movie, but sadly things went south.

The movie dropped 65% in earnings the second weekend, which inevitably makes a movie with around a $200 million budget a loser.   

Last Ranking: 6th 

 

 



8. “Neighbors 2: Sorority Rising” (May 20)

So far comedies aren't doing so well this summer. "Neighbors 2" went into its release with some encouraging reviews touting how it lives up to the original, but it looks like most folks won't see that until it gets to home video. The movie has only earned $53 million domestically so far.

The original "Neighbors" had already earned over $128 million by this time.

Last Ranking: 8th



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Stephen Colbert used a Nazi symbol to slam Donald Trump's 'new low' in the election

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steven colbert donald Trump orlando shootings

Donald Trump was quick to point fingers and say "I told you so" after the deadly shootings in Orlando, Florida, over the weekend.

That led "Late Show" host Stephen Colbert to examine the Republican presidential candidate's statements on Tuesday night's episode.

As investigators were still unraveling the details surrounding the Orlando shooting, Trump delivered a speech suggesting that the shooter was born in Afghanistan and was a radical terrorist.

But in fact the gunman, Omar Mateen, was the child of Afghan immigrants and like Trump was born in New York City.

Trump also reiterated his desire to bar Muslims from entering the United States.

"This whole speech, with its nativism, its fearmongering, and especially its self-aggrandizing in the face of tragedy, feels like a new low," Colbert said. "It makes me long for the days when Trump was just bragging about the size of his penis."

Trump also said both President Barack Obama and Hillary Clinton, the presumptive 2016 Democratic presidential nominee, were unable to deal with radical terrorism effectively.

"They have put political correctness above common sense, above your safety, and above all else," Trump said. "I refuse to be politically correct."

To which Colbert commented: "Donald Trump refuses to be politically correct. And just to be safe, he refuses to be correct."

But the comment that got most people talking was when Trump told Fox News that there might be "something else going on" in Obama's approach to dealing with terrorism, seeming to imply something more sinister about the president.

So when Trump challenged others to make sense of his statements, Colbert took him up on his offer. The late-night host brought in a chalkboard to chart Trump's statements. The first time he did it, he ended up with a giant swastika. He erased that quickly and started all over again.

See what he ends up with below:

SEE ALSO: Samantha Bee dropped everything and unleashed her anger over the Orlando attack

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Why Netflix CEO Reed Hastings doesn't have an office

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Netflix CEO Reed Hastings is worth $1.29 billion but he doesn't even have his own office.

The reason isn't some nod toward egalitarianism, or a need to feel in the midst of his employees, but rather that he simply doesn't need one, he told The New York Times.

“My office is my phone,” Hastings said.

“I found I was rarely using my cubicle, and I just had no need for it. It is better for me to be meeting people all around the building.”

For the Times' interview, he met the reporter in Netflix's cafeteria, where he leaned back, "tossing off answers to questions as if it were a day at the beach."

Part of why Hastings has no need for an office is because he's often on the go. He told Fortune he spends 3 to 4 nights in LA a month, and has been doing a lot of international travel.

But it says something about the way Hastings thinks that he's chosen to ditch his office. Obviously he could have one, even if just for things like meeting a Times reporter. But that wouldn't be the most efficient use of Netflix's resources.

SEE ALSO: Why Netflix thinks its personalized recommendation engine is worth $1 billion per year

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Kanye West just added a new song to his album 'Life of Pablo' 4 months after it came out

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Kanye West has been continually tinkering with the songs on his album "The Life of Pablo" since its release all of four months ago — calling the LP "a living breathing changing creative expression."

Now West has added a new closing track to his project. 

The six-minute song, "Saint Pablo," features British singer-songwriter Sampha on a soulful hook. 

The change comes days after Entertainment Weekly reported that West removed "Life of Pablo" from Tidal's streaming service in order to "refresh" the album. 

West last changed the album in March, when he added verses by artists Vic Mensa and Sia to the song "Wolves," along with numerous other minor changes. 

The new song, "Saint Pablo," can be heard on Apple Music below and on Tidal

SEE ALSO: Kanye West says he's now making '3 albums a year'

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These are the TV shows millennials love, according to a brand expert

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Millennials are the coolest kids on the consumer block. Companies are trampling over each other in the race to figure out what they want. And that includes TV networks.

In May, The CW announced that it was creating a digital channel called CW Good. It's meant to tap into the millennial generation's desire for content around social causes. CW Good will feature the causes its stars and fans support, as well as original series meant to inspire.

The CW, which targets a younger audience than the other broadcast networks, has long used its digital arm to experiment with content. But could it already be on the wrong track with CW Good?

"Anybody who's going to lean into [the social causes], saying it's good for you, are not going to win," Linda Ong, CEO and founder of the cultural research and branding company TruthCo., told Business Insider.

Ong — who said The CW is a TruthCo. client, though her company wasn't part of developing CW Good — argues that it's too early to judge how effective the digital platform will be with millennials.

"It will all depend on the execution," she said.

Ong told Business Insider what TV shows millennials are most engaged with, according to TruthCo.'s brand analysis:

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Millennials, like all of us, are making their way through a 'fire hose of content.'

Millennials can seem awfully abstract, but it's worth noting that they're not actually so young, nor are they so separated from other generations.

Under the framework established by generation researchers Neil Howe and William Strauss, millennials were born between 1982 and 2004. So currently, the bulk of millennials are older than age 20 to about 34 years old.

"We need to stop talking about millennials like Donald Trump speaks about Mexicans," Ong said. "They're not a horrible, invading species. They're people, and they're very influential in our culture. Millennial ideas radiate to everybody. There are more non-millennials than millennials on Facebook now."

And their TV viewing behaviors and tastes can align with older generations in that they are looking for ways to filter through the incredible amount of content that's available; at least 400 scripted shows were on TV in 2015.

"Right now, there is an abundance, a fire hose of content, and consumers have to use very different kinds of filters to determine what it is they’re actually going to invest their time in," Ong said.



Millennials want entertaining content that also changes the world.

It used to be about quality entertainment and social traction, but now, in the golden age of TV, there's too much quality entertainment for that to be an effective filter. The next filter has to do with how we believe and how we were raised.

"Some of the basic underpinning of the millennial culture was that everybody got a trophy," Ong said. "We can laugh at that, but they were brought up valuing equality. They were raised with a sense of fairness, and that’s what they’re trying to enact now. Everything they do has to align with those values."

And so one way for content creators to capture millennial audiences is to lead with quality entertainment that has an underlying social element to it.

"I think what we’re starting to see are shows like ‘Making a Murderer’ and ‘American Crime’ springing from an idea that program or content with social value can be entertaining," Ong said. "But now, content comes from a place where the very act of investing your time to watch it helps make the world a better place because you become more aware of things or even sometimes you can act on things."

Ong and her team put together a list of shows that best exemplify what millennials would invest their time in.

Here are the TV shows that most reflect millennial values according to their research:



Standard young-millennial programming, which tends to lean toward the preachy (reflecting the generation's social values)

"Degrassi: The New Class" (Netflix), pictured above
"The Fosters" (Freeform)
"Switched at Birth" (Freeform)



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Apple likely puts to rest the possibility of its own pay-TV service (AAPL, DISH)

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Dish Network's skinny bundle Sling TV is coming to Apple TV.

Current Sling TV subscribers will be able to access the entire service of live streaming television right through Apple's device. Furthermore, the two companies are offering a bundled deal that would let potential customers purchase a new Apple TV for $89 ($60 cheaper than the regular retail price) if they pay up front for three months of Sling TV, which costs $20 a month.

This partnership should be beneficial for both companies. Sling TV is one of the first integrations of a cable bundle and live pay-TV provider into Apple TV. WatchESPN is a bit of an exception, but this only covers sports programming.

The Sling TV integration surprised those who expected that Apple would offer its own pay-TV service that would natively integrate into Apple TV. The addition of live TV platforms onto Apple TV lets the tech giant distinguish its product from other purely on-demand services, such as Netflix, and become more competitive with other set-top boxes, such as Roku.

The fourth generation of Apple TV finally allowed users to install apps, but the device has struggled to generate user engagement in this way. BI Intelligence, Business Insider's premium research service, noted that only 9% of users come back to Apple TV apps even a few a days after downloading. Approximately 20% of users return to apps within a week of download on iPad and 19.5% do so on iPhone. So live streaming content could help stimulate this user engagement.

Sling TV had approximately 600,000 subscribers as of February, according to The Wall Street Journal. The partnership should increase that number.

Users would need to sign up and pay for Sling TV through Dish's website even though the service is available on Apple TV. Sling TV has stayed independent in this way and avoided the 15% revenue split that Apple charges other subscription partners on Apple TV.

Over the last few years, there’s been much talk about the “death of TV.” However, television is not dying so much as it's evolving: extending beyond the traditional television screen and broadening to include programming from new sources accessed in new ways.

It's strikingly evident that more consumers are shifting their media time away from live TV, while opting for services that allow them to watch what they want, when they want. Indeed, we are seeing a migration toward original digital video such as YouTube Originals, SVOD services such as Netflix, and live streaming on social platforms.

However, not all is lost for legacy media companies. Amid this rapidly shifting TV landscape, traditional media companies are making moves across a number of different fronts — trying out new distribution channels, creating new types of programming aimed at a mobile-first audience, and partnering with innovate digital media companies. In addition, cable providers have begun offering alternatives for consumers who may no longer be willing to pay for a full TV package.

Dylan Mortensen, senior research analyst for BI Intelligence, has compiled a detailed report on the future of TV that looks at how TV viewer, subscriber, and advertising trends are shifting, and where and what audiences are watching as they turn away from traditional TV. 

Here are some key points from the report:

  • Increased competition from digital services like Netflix and Hulu as well as new hardware to access content are shifting consumers' attention away from live TV programming.
  • Across the board, the numbers for live TV are bad. US adults are watching traditional TV on average 18 minutes fewer per day versus two years ago, a drop of 6%. In keeping with this, cable subscriptions are down, and TV ad revenue is stagnant.
  • People are consuming more media content than ever before, but how they're doing so is changing. Half of US TV households now subscribe to SVOD services, like Netflix, Amazon, and Hulu, and viewing of original digital video content is on the rise.
  • Legacy TV companies are recognizing these shifts and beginning to pivot their business models to keep pace with the changes. They are launching branded apps and sites to move their programming beyond the TV glass, distributing on social platforms to reach massive, young audiences, and forming partnerships with digital media brands to create new content.
  • The TV ad industry is also taking a cue from digital. Programmatic TV ad buying represented just 4% (or $2.5 billion) of US TV ad budgets in 2015 but is expected to grow to 17% ($10 billion) by 2019. Meanwhile, networks are also developing branded TV content, similar to publishers' push into sponsored content.

In full, the report: 

  • Outlines the shift in consumer viewing habits, specifically the younger generation.
  • Explores the rise of subscription streaming services and the importance of original digital video content.
  • Breaks down ways in which legacy media companies are shifting their content and advertising strategies.
  • And Discusses new technology that will more effectively measure audiences across screens and platforms. 

Interested in getting the full report? Here are two ways to access it:

  1. Subscribe to an All-Access pass to BI Intelligence and gain immediate access to this report and over 100 other expertly researched reports. As an added bonus, you'll also gain access to all future reports and daily newsletters to ensure you stay ahead of the curve and benefit personally and professionally. » START A MEMBERSHIP
  2. Purchase & download the full report from our research store. »BUY THE REPORT

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Netflix pays people to watch its shows, and now they're suing the streaming company

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Netflix VR

Netflix hires people to watch its programs and choose the best still images and videos to represent its many offerings. Two of its hires for the process, known as "Project Beetlejuice," are now suing the streaming company, according to The Hollywood Reporter.

There are two putative class action lawsuits filed against Netflix in California. One was filed in November by Long Beach resident Lawrence Moss, and the other was filed in May by Los Angeles resident Cigdem Akbay.

They argue that members of the secret "Project Beetlejuice," who often worked more than 40 hours per week, should be making more money than the $10-a-program fee, and have been miscategorized as contractors instead of employees. They're also asking for overtime, paid vacation, and holidays, health insurance, and a 401(k) plan.

According to The Hollywood Reporter, Moss and Akbay said they had worked closely with company management as part of "Project Beetlejuice" and had worked more than 40 hours per week.

Akbay said she would regularly work more than 40 hours a week with a "rigid work schedule" dictated by company deadlines. She alleges that she was fired in 2014 after telling management that "Project Beetlejuice" had become her primary source of income.

A Netflix representative told Business Insider that the company doesn't comment on active litigation. 

SEE ALSO: Netflix just released the first trailer for its creepy new show starring Winona Ryder

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We watched the entire new ESPN documentary on O.J. Simpson and there are some explosive revelations

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It seems whenever news of O.J. Simpson dies down something happens that brings him back into the public eye.

Simpson is serving a 33-year sentence in Nevada after being charged with numerous felonies, including armed robbery and kidnapping, stemming from an incident at a Las Vegas casino hotel room in 2007.

But now, the popular limited series on FX "The People v. O.J. Simpson: American Crime Story" has many people ready to dive back into the most turbulent chapter of Simpson's life.

And that's not the only way to get your fix of "The Juice."

In June, ESPN's "30 for 30" series is airing its most ambitious documentary to date — a five-part miniseries on the rise and fall of Simpson called "O.J.: Made in America."

The series was shown in its entirety (almost eight hours) at a special world-premiere screening at the Sundance Film Festival earlier this year, and it did not disappoint.

Directed by Ezra Edelman, the film is a masterful documentary that unpacks Simpson's life story — from his days as a USC football star, to becoming a Hall of Fame NFL player, and later becoming a successful pitchman for companies like Hertz after he retired.

And, of course, Edelman devotes a substantial amount of time to the events leading up to the murder trial — from the infamous slow-speed chase in which Simpson held a gun to his head while riding in a white Ford Bronco, to the court proceedings that captivated a nation.

But, as any great biography should, Edelman's storytelling draws you in with a series of previously unknown revelations about Simpson's life.

A carefully crafted persona

Through interviews with some of Simpson's most trusted friends and acquaintances — along with memorable figures from the trial, we discover a man who is part hustler, part America's sweetheart.

One portion Edelman spells out perfectly is how Simpson crafted his persona, a man America would come to adore from his days at USC onward.

At the peak of the civil-rights movement in the 1960s, as African-American athletes like Muhammad Ali and fellow NFL player Jim Brown demonstrated themselves to be proud activists, Simpson stayed quiet. When asked why, he answered simply, "I'm not black, I'm O.J."

OJ Made in America Sundance Film FestivalThis attitude of never addressing race catapulted him into the world he craved, that of being a celebrity and shaping an identity that would make him one of the only black athletes who could appeal to a white audience in the 1970s.

Making a home in a high-class area of Los Angeles and forming a close-knit group of mostly white friends with his wife Nicole after he retired from the NFL, Simpson was too busy making movies and having a good time to worry about the plight of the black community at large. That plight included the acquittal of white Los Angeles police officers accused of brutally beating a black man named Rodney King, and the deadly 1992 riots that followed the verdict.

In fact, one police officer in the film who was in the car with Simpson as he was taken to a police station following the Bronco chase, recalls how Simpson reacted to all the people cheering for him on the streets: "What's all these n*****s doing in Brentwood?"

And that was far from the most shocking piece in the series.

A tumultuous relationship

The stories of Simpson and Nicole Brown's volatile relationship are at times unbearable to watch.

In the series, one of Brown's friends recalls Simpson's first date with his soon-to-be wife. The friend said Brown returned home from the date with her jeans ripped. The friend asked what happened, and Brown told him "He got a little rough," referring to Simpson. The friend warned Brown to stay away from Simpson, but she said that she really liked him and would continue seeing him.

OJ

After Simpson and Brown married, the police were sent to their home more than 10 times over the years, due to reports of domestic violence, according to the ESPN documentary.

Even Mark Fuhrman, who would be labeled a racist cop during the Simpson murder trial, said in the series that during one of his visits to the Simpson residence, he found Simpson holding a bat, and Brown crying hysterically next to a car with its windshield completely smashed.

Fuhrman recalled asking Brown if she wanted to press charges and she declined.

Fuhrman said he told to Brown, "It's your life."

According to the documentary, Simpson's behavior took a turn once he and his wife separated.

Brown was living on her own and seeing a new man, and the documentary tells how one day Simpson went storming into Brown's place, wanting to talk privately with her.

When Simpson left, Brown told her new flame that Simpson confessed he had been following them the night before, and when they were being intimate at her place, Simpson watched.

Then there's the murder of Nicole Brown-Simpson and her friend, Ron Goldman.

The series doesn't hide that there's a lot of circumstantial evidence potentially pegging Simpson as the murderer. From Simpson's blood being found at the scene of the crime, and a trail of blood leading back to his home. Or that, as one of his old friends tells it, Simpson told three different stories of how he received a cut on his finger the night of the murder.

The friend also revealed that Simpson confided in him that he declined to take a lie-detector test after the murders because, "I've had dreams of killing [Nicole]."

OJ Simpson glovesThere are also extremely graphic images of the crime scene, with shots of Brown and Goldman soaked in blood with their throats slashed.

Some bizarre revelations

We learn that during the slow-speed Bronco chase, according to an officer who was at Simpson's house, O.J.'s family were inside eating a platter of sandwiches while watching the coverage of the chase on TV.

And that to pay for his "Dream Team" during the trial, Simpson would sign hundreds of autographs in prison. One person from the celebrity autograph world said in the series that Simpson made around $3 million just from doing the jail autographs.

Also, one juror from the Simpson trial who is featured in the series admits that she voted not guilty for Simpson because it was payback for Rodney King not winning his case.

But perhaps the most shocking reveal in the series is when a friend explains the first time he learned Simpson's father was gay.

According to the friend, when he and Simpson were kids, they went to his dad's place. Simpson's dad opened the door wearing only a towel, the friend said. And behind Simpson's dad stood another man, who was also wearing only a towel.

As an adult, Simpson allegedly beat his wife following a dinner where his son was kissed on the cheek by a gay man, according to a purported journal entry of Brown's that is featured in the series.

"O.J.: Made in America" is full of incredible insight of both Simpson's glory and demise, but it's explosive revelations like these where Edelman really shows his knack for getting the most out of his subjects. It proves that even if you think you know the O.J. Simpson story, there's still so much more to tell.

SEE ALSO: Stephen Colbert calls out Donald Trump for apparent Bible goof

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This quirky job is harder to get into than the Navy SEALs or Harvard

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Kenneth Parcell 30 rock

Navy SEAL's acceptance rate: 20-25%

Harvard's admission rate: 5.2%

Chance of becoming an NBC Page: 1%

Yes, you read that right. With about 7,000 applicants fighting for 60-85 openings, the National Broadcasting Company’s page program is more selective than becoming an elite member of the US military or being admitted to one of the world’s most prestigious colleges.

Jimmy Fallon page

Pages work for different departments, such as the Syfy channel, within NBC’s network. These representatives of the network are on year-long rotations which act as the stepping stone to other entry level positions within NBC. Although they perform their intern-like duties for their respective department, they are better known for their public relations responsibilities, such as giving out tours of the studio and ticketing.

Wearing suits from Cintas with the NBC’s infamous peacock badge, these enthusiastic individuals are the face of the the network, both metaphorically and literally — they can often be found at the elevator doors greeting guests and celebrities.

Aubrey Plaza page

Established in 1933, this highly competitive program gave those who were interested in the entertainment industry a sample of what it was like to be behind the camera, or even in front of it.

Notable alumni include TV personality Regis Philbin and former Walt Disney CEO Michael Eisner.

It even managed to produce actors and actresses such as Bruce Willis and Aubrey Plaza.

In a quote from the New York Times, John P. Wallace, an NBC page in 1988 who later became president of NBC’s local media division explained, “It’s really cool because you’re getting out of college and working in the business.”

Although entry into this coveted program and some of the humble tasks it entails can be daunting, there is a silver lining — about 70 percent of pages have offers from the network at the conclusion of their rotation.

Perhaps there was a reason for “30 Rock” character Kenneth Parcell’s twinkle in his eye. Or was that a look of desperation? It’s hard to tell with him sometimes.

SEE ALSO: Former Navy SEALs reveal what Hollywood gets wrong about the elite warriors

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HBO just released 8 new photos unveiling an epic battle on the next 'Game of Thrones'

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game of thrones bastard bowl

Warning: Spoilers ahead for "Game of Thrones" season six.

The epic ninth episode of "Game of Thrones" season six is "Battle of the Bastards," and we cannot wait for the titular showdown between Jon Snow and Ramsay Bolton. HBO has officially released new stills that show intense levels of action on the battlefield. If our predictions are correct, then this is set to be one of the bloodiest and most epic fight scenes the series has ever done.

Scroll down for a look at the eight images released by HBO:

SEE ALSO: The 6 most popular fan theories for how 'Game of Thrones' will end

Sansa Stark and Jon Snow are dressed in their House Stark best, looking regal and ready to reclaim Winterfell.



Jon will lead the loyal forces with his Valyrian steel sword, Longclaw, in hand.



Wun Wun the giant has already smashed one man onscreen this season. How many Boltons can he take down?



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Here's how 'Game of Thrones' turns a man into a White Walker with incredible makeup effects

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Scott Ian as a White Walker

While winter is always just "coming," the White Walkers are actually here on "Game of Thrones," and their ice-hardened, scary faces aren't going anywhere.

The HBO show's Emmy-winning prosthetic designer Barrie Gower demonstrated the complexity of the process it takes to turn an actor (actually, a stuntman) into a White Walker in the Nerdist's latest "Bloodworks" video.

In the video, the band Anthrax's Scott Ian gets the full White Walker treatment. And he's the first American to become a White Walker.

Even with the level of difficulty required, Gower says in the video, "'Game of Thrones,' for a prosethics artist, is like a bucket list basically."

Gower explains that the inspiration for the White Walkers' look initially came from another popular show, "The Walking Dead." But, of course, "Game of Thrones" created its own approach for its fantasy world's zombies.

To achieve the White Walkers' distinct skeletal qualities, Gower says the makeup artists block out the primary forms of the face before adding in texture.

Ice, marble, and crystal are some of the inspirations for the paint job, though Gower also describes some of the Walkers' features as "wrinkly" and "elderly."

The prosthetic might look stiff, but Ian says it's quite "malleable."

While the White Walkers and Wights might cause unecessary panic among viewers, knowing their names might make them seem more approachable. Gower says they are named after their actors or stuntmen, so they could be called Vlad, Harold, or even Chris.

At least Ian's Walker isn't so scary.

Watch the full video below to see the whole process and learn more about the epic battle in the "Hardhome" episode of season five.

SEE ALSO: The 6 most popular fan theories for how 'Game of Thrones' will end

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'Shrek' is getting revived for more movies after Comcast bought DreamWorks

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Shrek DreamWorks

DreamWorks Animation looks to be heading back into the swamp.

In the wake of Comcast's acquisition of the animation studio, NBCUniversal chief Steve Burke said it has plans for more "Shrek" movies in the future, according to Deadline.

Chris Meledandri, head of Illumination Entertainment — which Universal owns — "is creatively going to try to help us figure out how to resurrect 'Shrek' and take a lot of the existing DreamWorks franchises and add value as we create new franchises," Burke said.

Burke also said there are hopes to produce "as many as four animated movies a year." 

The first two "Shrek" films were well-received, both pulling in an 88% rating on Rotten Tomatoes. The most recent two, "Shrek the Third" and "Shrek Forever After," however, didn't get the same reception — with a rotten score of 40% and 58%, respectively.

All four "Shrek" films have earned a total $1.6 billion in domestic grosses, adjusted for inflation.

In addition to "Shrek," DreamWorks Animation is also home to the "Kung Fu Panda," "Madagascar," and "How to Train Your Dragon" franchises. Illumination Entertainment is responsible for the mega-popular Minions and the "Despicable Me" franchise.

Deadline also reports that Burke said the goal is to create characters that will lead to theme-park attractions and licensed merchandise to take “the low-single digit returns of the movie business and turn it into a different kind of business.”

Comcast purchased DreamWorks Animation for $3.8 billion in April. Clearly, Comcast is already thinking through how to get that big investment to pay off.

DreamWorks' "The Croods 2" and "How to Train Your Dragon 3" are set to be released in December 2017 and June 2018, respectively. Its original film version of "Captain Underpants" is scheduled for a June 2017 release.

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Disney just released the trailer for its 'Pete's Dragon' remake

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Disney just released the first full-length trailer for its upcoming remake of the 1977 family classic "Pete's Dragon," which combined live action and animation. The 2016 version, due out this August, appears to implement CGI to create the titular beast that befriends a small-town boy.

"Pete's Dragon" is the newest addition to Disney's steadily-growing slate of remakes, following the success of "The Jungle Book" and "Cinderella." In December, the studio will release a live action reboot of its 1991 animated classic "Beauty and the Beast." 

"Pete's Dragon" is scheduled to fly into theaters on August 12.

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