Director Ang Lee has spent his career making movies with standout visuals that audiences have never seen before, whether it's fighting among the trees in "Crouching Tiger, Hidden Dragon" or the 3-D spectacle of "Life of Pi."

But the filmmaker is putting the final touches on a movie that pushes the visual boundaries beyond what anyone has done before.

Lee's next movie is "Billy Lynn's Long Halftime Walk," which is based on the acclaimed 2012 novel of the same name about the victory tour of 19-year-old soldier Billy Lynn following an intense battle in Iraq. Lee shot the 3-D movie in 120 frames per second. It'll be the first film ever shown to the public in that format.

But it's hard to gauge how many audiences will be able to see the movie as Lee intended, since most theaters can't play a movie at that speed.

The standard speed movies shoot at is 24 frames per second. Peter Jackson used 48 frames per second for his "The Hobbit" trilogy, the first time that was done for a wide release. It should be said that not everyone enjoyed the experience, however.

Business Insider has talked to people who saw the 11 minutes of "Billy Lynn" presented at CinemaCon in April, and they say they were blown away by the visuals — and that at 120 frames per second, the movie doesn't have the TV look that many complained about when seeing "The Hobbit" movies in 48 frames.

However, the "Billy Lynn" war footage has been a lot for audiences in test screenings to handle.

"Test subjects that have seen some footage have commented that 40 minutes after seeing battle footage, they're still shaking," Ben Gervais, a "Billy Lynn" production systems supervisor, told Variety.

The film, which was made for a remarkably cheap $40 million, will have its world premiere in 120 frames during the Film Society of Lincoln Center's New York Film Festival on October 14.

But how many theaters in the US have the ability to show the movie at 120 frames when it opens nationwide on November 11?

Right now, none.

According to Patrick Corcoran, vice president and chief communications officer at the National Association of Theatre Owners, no commercial theater in the country is currently capable of running a 3-D movie shot in 4K at 120 frames per second. And Corcoran points out that a major factor in whether multiplexes convert for the technology is if there's a return on investment.

"That means will audiences know the difference and will it attract more to come to the theater," Corcoran told Business Insider, adding that some theaters will be able to show "Billy Lynn" at 60 frames per second.

At CinemaCon, the footage was shown using a special duel-projector setup for 120 frames, according to Variety. The same will be done at the New York Film Festival screening, according to the festival.

According to the announcement for the "Billy Lynn" screening at the fest, the movie will be released theatrically in 2-D and 3-D versions, and both will feature new visual techniques.

SEE ALSO: Why the new "Ben-Hur" is the biggest box-office flop of the whole summer

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NOW WATCH: The directors of 'Catfish' and 'Nerve' reveal how to make it in Hollywood without going to film school

The 1935 smash hit "G Men" signaled a departure from the gangster-glorifying films of the earlier part of the decade. Rather than lionizing the bank robbers and bootleggers that captivated Americans during the Great Depression, this movie focused on James Cagney as a selfless FBI recruit.

According to James L. Neibaur's "James Cagney Films of the 1930s," it's unclear how involved FBI Director J. Edgar Hoover was in the production of the film. Some sources indicated that he opposed the movie, but ended up changing his mind once he saw it in theaters. Neibaur writes that there were also rumors that Hoover himself signed off on the script's glowing portrayal of the Bureau.

Since those days, fictional depictions of FBI agents have undergone a number of transformations, which often shift along with the American public's view of the agency. We've seen the paranormal-investigating power couple Mulder and Scully on "The X-Files," coffee-loving, eccentric Dale Cooper on "Twin Peaks," the heroic squad featured on "Criminal Minds," along with the ominous, overbearing suits that appear in the background of many police shows. Some clichés surrounding the FBI are specific to the Bureau, while many of the tropes that cling to the organization also pertain to law enforcement and federal agencies in general.

Business Insider spoke about these different fictional portrayals with three retired FBI agents, Jerri Williams, author of the upcoming novel "Pay to Play," Joe Navarro, author of "What Every Body is Saying," and Chris Voss, author of "Never Split the Difference: Negotiating As If Your Life Depended On It."

They revealed which popular fictional clichés about the FBI are dead wrong and discussed the handful of shows that come close to getting it right:

SEE ALSO: Here's what it's really like to work for the FBI

DON'T MISS: A former FBI agent reveals 7 ways your body betrays you when you're nervous

Myth: The FBI doesn't play well with others

It's a scenario that plays out in "Die Hard," "Law and Order," and "Dexter," just to name a few — stony-faced or smug federal agents swooping in to seize control of a case and shut out local law enforcement. "TV Tropes," an online wiki of fictional works, refers to this trope as "Jurisdiction Friction."

All three of the former agents that spoke with Business Insider listed this portrayal as a major pet peeve.

"That is just such a cliché," Williams says. "A local detective or sheriff is working on something and the FBI comes in and takes over and just treats everybody terribly. That is the worst. When I see that I just think, 'Doesn't whoever wrote this have any original ideas?'"

Williams isn't just irked because the trope depicts the agency in a negative light — she says the stereotype can be self-perpetuating, causing local law enforcement agencies and other institutions to regard the FBI with suspicion.

"We might have to break down some resistance before we can even do our job, because people expect us to be like that," Williams says.

Navarro says the trope is fundamentally untrue. When a case falls under FBI jurisdiction, the Bureau typically establishes a task force with local law enforcement agencies. Additionally, the FBI may become involved to provide investigative resources that some smaller police forces simply don't have. Navarro recalled working on a kidnapping in Arizona, where the FBI provided over a hundred agents to assist the local sheriff's department.

"We don't just walk in and say, okay boys and girls, we're taking over," he says.

Voss notes that there are some situations where he can understand why local law enforcement agencies might get a negative impression of the Bureau. He recalled arresting the wife of a fugitive on the FBI's "Most Wanted" list outside a convenience store in a small town in Pennsylvania. Voss and his partner were driving an unmarked car when they seized the woman, which alarmed two local cops who just happened to be parked outside.

However, Voss says he believes that fiction exaggerates the issue, citing the movie "The Negotiator," which features antagonistic FBI agents who wrangle with local authorities over a case.

"They were sort of this threatening, looming presence," Voss says. "The FBI just doesn't operate like that."

Myth: FBI agents are robotic bureaucrats

Voss, a former FBI hostage negotiator and CEO of the Black Swan Group, explains how fiction can have a negative impact on how FBI agents interact with the public and other law enforcement agencies.

"Fictional television does in fact have an effect on peoples' opinions," he says. "And so many people just expect FBI agents to be jerks."

Williams says that, in her experience, practical jokes in the office were fairly common.

"We'd take our jobs seriously but not necessarily ourselves," she says.

Navarro says that this cliché can cause people to view the agency as a monolith of stiff, sinister bureaucrats and sunglasses-wearing, suited men.

"Obviously most FBI agents are concerned about crime and national security, but they also, for the most part, have families," he says. "They have kids, they have sick days off, they worry about their wives or their husbands, and they attend birthday parties — just regular stuff."

Myth: FBI agents are constantly fighting serial killers

In fiction, FBI agents frequently do battle with a frightening enemy — serial killers.

The novel and subsequent movie adaptation of "Silence of the Lambs" seemingly kicked off this trend, pitting FBI Academy student Clarice Starling against the sadistic Buffalo Bill. In the same vein, the characters on "Criminal Minds" continue to track down serial murderers around the country.

Williams, who served as a special agent for 26 years and mainly investigated economic crimes, noted that, while the FBI does investigate serial killers, only a small percentage of agents handle such cases.

The prevalence of the federal agent vs. the serial murderer trope points more to our culture's fascination with serial killers, as as Dr. Scott Bonn previously wrote in "Psychology Today," than how the Bureau actually operates.

Dwayne "The Rock" Johnson is always jumping from one movie set to another. And he loves to keep his Instagram followers informed on what he's up to.

So it was while in between flights to projects that Johnson dropped this piece of info on us: His "Jumanji" movie is not going to be a reboot, as some previously assumed.

In an Instagram post last week thanking everyone on the "Fast 8" shoot, Johnson informed his followers that he was off to shoot the next "Jumanji" movie alongside Kevin Hart and Jack Black.

But, the actor noted, "For the record we are NOT making a reboot."

Instead it's a "continuation of the awesome JUMANJI story," he wrote.

Here's his post:

There have been no other details revealed about the movie.

The original, which was released in 1995 and starred Robin Williams and Kirsten Dunst, made over $262.7 million worldwide and was the seventh highest-grossing domestic movie of that year.

The new "Jumanji" will open in theaters in July 2017.

SEE ALSO: Here's the surprising first movie roles of 27 A-list actors

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NOW WATCH: The Rock made a little girl's wish come true

Podcasts have become excellent sources for great storytelling, interviews, and journalism.

From a few minutes to more than an hour, podcasts give content creators a chance to speak directly to their listeners free of distractions, and give listeners a new way to expand their minds during their daily commutes.

We have a lot of podcast nerds at Business Insider. So we collected our favorite podcasts, which are equally informative and enjoyable, across four big areas of interest: technology, culture, science, politics, and innovation.

We've included links to our picks for each of these podcasts' best episodes, but you can find all of them in iTunes or through your favorite podcast app.

SEE ALSO: There's a simple trick to looking your best in smartphone photos

AND: There's powerful evidence that the ancient Mediterranean diet can extend your life

"Codebreaker"

As a co-production of Tech Insider and Marketplace, "Codebreaker" is dear to our hearts in the newsroom. But it's also got some of the smartest storytelling about technology you can find anywhere.

"Codebreaker" moves past newsy takes to ask big questions about technology's impact on our world. The first season began with three simple words: "Is It Evil?" Ben Johnson, the host, asked that question of internet porn, virality online, and even software updates — finding depth and nuance to each topic you probably never knew existed.

Starter episodes: 

"Internet Porn" 

"The Decisive Machine"

"Reply All"

When I asked Tech Insider's writers and editors to recommend their favorite podcasts beyond "Codebreaker," this was the runaway favorite.

Gimlet media's "Reply All" calls itself a "show about the internet." But that doesn't begin to sum up what hosts PJ Vogt and Alex Goldman explore each episode.

In the past they've tackled ISIS's internet presence and LSD microdosing, solved the mystery behind hundreds of people showing up at an Atlanta house looking for their lost phones, and told the beautiful, tragic story behind a video game about losing a child.

Their best work yet came in their most recent episode. They revealed that "pizza rat" and "selfie rat" may in fact be the first shots fired in a barrage of hoax viral content from a disinformation artist named Zardulu. And that story's even weirder than you think.

Starter episodes:

"Zardulu"

"In the Desert"

If there's a solid bet for big-budget Hollywood movies these days, it's the superhero genre.

One of the biggest movies of this summer was (for yet another year) a Marvel mashup, "Captain America: Civil War." Meanwhile, Warner Bros.' DC Comics title "Suicide Squad" struggled, breaking a record in its first weekend and then quickly dropping based on bad reviews and worth of mouth.

But "Squad" can't even come close to the most epically disastrous superhero movies. Long before they were Hollywood's cash cow, comic-book adaptions were known as a notoriously mixed bag. For every Tim Burton "Batman" there was... "Blankman."

Here are the wide-release superhero movie titles with the lowest box-office grosses, going back to 1978, as reported by Box Office Mojo:

SEE ALSO: 100 movies on Netflix that everyone needs to watch in their lifetime

10. "The Meteor Man" (1993)

Adjusted gross: $16,769,200*

An original superhero movie starring Robert Townsend, "Meteor Man" is about a teacher who becomes a superhero when Washington, DC, is taken over by street gangs. Critics didn't think it quite worked though, with Roger Ebert saying it "contains big laughs and moments of genuine feeling, but it seems to be put together out of assorted inspirations that were never assembled into one coherent storyline."

*Note: All figures adjusted for inflation.

9. "Blankman" (1994)

Adjusted gross: $16,454,000

Damon Wayans in his "In Living Color" days starred in a comedic take on superhero movies. He plays a naive repairman who loves Batman. It probably wasn't intended for primetime, though the admittedly funny movie became a cult hit on video.

8. "Zoom" (2006)

Adjusted gross: $15,851,500

Tim Allen took his own shot at the superhero genre with this family/sci-fi affair also featuring a then-unknown Kate Mara. Panned by critics, it couldn't recoup its $35 million budget. If you have no memory of the film, you're far from alone.

You wouldn't think that it would be possible for someone like Matthew McConaughey to go unnoticed anywhere, but the "True Detective" and "Interstellar" actor has been posting videos on YouTube for a year and isn't getting many views.

McConaughey has a titular channel on YouTube that is verified and has six videos, four of which are vertical videos of the actor encouraging viewers to donate or take part in a charity for clean water or children's education.

He has had the channel for a year and averages about 370,000 views per video.

The lowest view count, about 73,000, is for a trailer for "Kubo and the Two Strings," in which he lends his voice. The most-viewed, about 1.3 million, is a #GivingTuesday post that came with a chance to meet him.

He also has only about 73,000 subscribers.

His latest post was the trailer debut for the animated musical comedy "Sing," which he also voices in.

The top commenter on Reddit that brought the account to many people's attention says that they're "genuinely shocked" at the low views on the videos.

We are, too.

SEE ALSO: Matthew McConaughey is having the best time cheering on Team USA at the Rio Olympics

DON'T MISS: Here's the trailer for the new Matthew McConaughey movie that was booed at Cannes

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NOW WATCH: Here’s your first look at 'Battlefield 1’ — the life-like war game that blew up on YouTube

"There's no protocol for women attending," says a white man in a suit holding a sheaf of papers.

"There's no protocol for a man circling the Earth either, sir," Taraji P. Henson retorts in my favorite line from the new trailer for the movie "Hidden Figures," due theaters this January.

Henson plays Katherine Johnson, a brilliant mathematician at NASA working on the space program in its earliest days, beginning in the 1950s. Many of NASA's first missions were made possible by Johnson's intrepid, unparalleled calculations.

The movie is based on a nonfiction book of the same name by Margot Lee Shetterly, who grew up near NASA's Langley Research Center, where Johnson and her colleagues worked.

Johnson still lives near Langley in Hampton, Virginia, where she'll be celebrating her 98th birthday later this month. Keep scrolling to learn the true story of her incredible life.

SEE ALSO: 12 incredible women you've never heard of who changed science forever

As a child, Johnson has said in interviews, she loved to count. Her father placed a premium on education and insisted all four of his children go to college, working overtime to pay for it. Johnson says this atmosphere was crucial to her success. "I was always around people who were learning something. I liked to learn."

Sources: NASA, interview

Johnson graduated high school at 14 and college at 18. Her high school principal sowed the first seeds for her career in space — he would walk her home after school pointing out the constellations overhead. At college, a family friend from her home town who knew her talent for math ordered her to enroll in her class.

 Sources: NASA, interview, interview

Later, she was mentored by Dr. William W. Schiefflin Claytor, who suggested she aim to become a research mathematician. He created the classes he knew she would need to succeed, including one in which she was the only student. Throughout her education, she says she succeeded in part because she was always asking questions — even when people tried to ignore her, her hand stayed up.

RAW Embed

 Sources: NASA, interview, interview

Ryan Lochte has had a tough time since conflicting reports have come out about his claim that he and other Olympic swimmers were robbed at gunpoint in Brazil. Lochte admitted to incorrect details in the story in an interview with Matt Lauer last week.

But Stephen Colbert decided to amp up the humor of the robbery story by splicing himself into the Lauer interview on Monday night's "Late Show."

Acting as Lauer, Colbert recounted how Lochte had changed his robbery story several times. In fact, Lochte and three of his teammates had simply urinated at the gas station where they were supposedly robbed. 

"That didn't happen, and that's why I over-exaggerated that part," Lochte said to Lauer's stand-in. 

"'That part' is really thewhole part," Colbert responded. "Without a gun cocked at your forehead, it's really just a story about some guys urinating on a gas station. How could you get that so wrong?"

"I was intoxicated," Lochte responded. 

Cutting back and forth between questioning Lochte's story and Lochte blaming his intoxication, Colbert took the satire to another level as he shined a police light on the swimmer's face and dangled a cat toy in front of him. 

Since the scandal, Lochte has lost his sponsorship deals with Speedo, Ralph Lauren, and two other companies. 

Watch Colbert's clip below:

SEE ALSO: NBC's Matt Lauer says Ryan Lochte changed his Rio robbery story on 2 key details

Join the conversation about this story »

NOW WATCH: 7 things you missed in the new Star Wars Rogue One trailer

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Live music streaming pioneer Boiler Room has partnered with British fashion retailer Topman for four-stop tour in the US, including shows in New York, Atlanta, Chicago and Los Angeles. This tour should generate substantial North American buzz for both brands, elevate Topman's hip and edgy credibility among youths, while providing Boiler Room with a hefty chunk of sponsorship money to continue its global expansion. 

In many respects, Boiler Room's rise to fame follows a similar 'rags to riches, passion project to bona fide business' trajectory as other successful digital media upstarts. A potent idea grown from the ground up with basic equipment, a group of friends, and barely any semblance of a business case, until flourishing into a bona fide empire by virtue of the connective power of the internet. Boiler Room's first parties and live streams seem more incidental than intentional, and the project launched not as a company but as a playful experiment by its founder, Blaise Bellville. 

In a decrepit building in East London, Bellville stumbled upon a small room that was once home to the edifice's head-generating equipment. The disused space struck Bellville a well-suited for intimate DJ sessions, which he could broadcast on the internet. With budget turntables, a pair of speakers, support from like minded friends, a Ustream channel, a webcam stuck on the wall with adhesive tape, and, of course, an old corrugated sign on the door that spelled out the room's past and present purpose, "Boiler Room" was born.

Since launching in 2010, Boiler Room has grown into a revered event organizer and live music streamer, carving out an iconic place for itself in music subculture. The company hosts invite-only parties in secret locations around the world, include Chile, Mexico, and Tel Aviv, and most frequently in its hometown of London, as well as in New York, Berlin, and LA. In April, Boiler Room broke into China for the first time, broadcasting live through YouTube, as well as Chinese video company LeEco (formerly LeTV) to overcome the country's internal ban against Google.

As of last year, Boiler Room had streamed over 3.5 billion minutes in live video, with average audiences in the hundreds of thousands tuning into its many hundred shows, and with a record audience of 10.6 million tuning into Carl Cox's set in Ibiza on YouTube, according to stats cited in a Guardian profile for the organization's five-year anniversary. To earn money, the company relies purely on branded sponsorships, such as the aforementioned partnership with Topman, and aims to add 6 to 7 partners year on year to collaborate and develop platforms mutually. Some of Boiler Room's noted collaborators are Red Bull, a long-standing partner, Ray-Ban, which sponsors Boiler Room's SXSW events, and Red Stripe.

Several strategic factors have paved Boiler Room's road to success: 

• Leveraging social platforms for live. Boiler Room began streaming on Ustream, the live video platform that IBM acquired in June, and then rose to prominence with YouTube broadcasts embedded on its main site. Each event stream is typically made up of three to four hours of DJ sets, and online viewers are able to submit comments on the video. The bulk of these comments are usually "Track ID" requests for artist and song name in play. Occasionally, however, there is substantive feedback that Boiler Room takes to heart, such as the slack it received over an unpopular Diplo set back in 2011, which proved to be a turning point in solidifying the company's ethos. Boiler Room has since amassed over a million subscribers on YouTube, but has been more active in recent months on Facebook Live, where it has a larger fan base of over 1.5 million people. The company doesn't appear to be a part of the Facebook program to pay live content creators directly, however. 
• Diversified programming across genres. Boiler Room aims to showcase niche, up-and-coming or otherwise underserved music scenes that tend to be overlooked in the mainstream media. Artists across the spectrum – from the emerging crop of bedroom producers to established icons with cult-followings – appear in Boiler Room shows. Early on, the company's budget-conscious production methods gave it the leeway to book about a thousand artists each year, produce all the events and broadcasts to match. In a similar vein, Boiler Room is committed to spotlighted all genres of music, no matter how obscure or eclectic, and the company has even forayed classical music, a genre generally unpopular with millennials. Last week, the platform announced that it would divvy all of its content into four new channels focusing on a different categories of music, further cementing the diversity of its programming. All of this enables Boiler Room to cater to a vast range of interests, and reach audiences far and wide. 
• Giving local talent a global platform. Since its launch, Boiler Room has helped to emphasize local talent and music culture. From its roots in London, the music event streaming project gave exposure to the country's burgeoning electronic scene at the turn of the decade. The platform signaled its influence early on in 2010 when it booked Theo Parrish, the legendary Detroit-based producer and DJ, in a set showcasing the renown London label Young Turks, also featuring the then up-and-comers SBTRKT and Mount Kimbie. Boiler Room's first expansion out of London came in the following year, when it set sail to Berlin to host shows around the city's famed house and techno scene. The Berlin broadcasts catapulted Boiler Room onto the international stage, with enthusiasts of Berlin's music culture tuning in from around the world.  To celebrate its fifth birthday in November 2015, Boiler Room launched four parties across three continents, in Berlin, Tokyo, Los Angele and New York, each broadcasting at a different time during the day. Providing a lens into music scenes worldwide plays into the modern spirit of globalism and people's inherent fascination with foreign culture. In business parlance, Boiler Room serves as a marketing vehicle for miscellaneous, underground art movements across the world. 

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Pokémon Go rolled out a big update on Monday, and it might be just in time, because people aren't using the app as much, according to three third-party analytics firms.

There have been a bunch of nagging problems that have plagued Pokémon Go since its launch, only some of which have been addressed. But the core premise was strong enough that more and more people were playing the game, obsessively, despite those problems.

That undeniable upward momentum, however, seems to have ceased.

Bloomberg points to data from Sensor Tower, SurveyMonkey Intelligence, and Apptopia, all of which show Pokémon Go's active users and downloads are in decline.

Data from SurveyMonkey Intelligence, reviewed by Business Insider, has Pokémon Go's weekly active user count in the US peaking on July 24 at around 40 million, and sitting at 28 million on August 18. SurveyMonkey Intelligence also says Pokémon Go's monthly active user count, and US downloads, have both peaked and are trending down.

Here is the weekly active users chart:

The monthly active users chart:

And the downloads chart:

Conversely, weekly churn, defined by "percentage of existing users who used the app in a given week but didn’t use it the following week," has been on the rise:

This doesn't mean that Pokémon Go is dead. It's still the top-grossing app on the US iOS charts, according to App Annie, and sitting at No. 16 for downloads.

But it does mean that Pokémon Go's upward trajectory seems to have stalled — for now. Perhaps it's time for Niantic, the app's creator, to start seriously addressing some of the problems that are hampering the gaming experience.

SEE ALSO: Pokémon Go just got an update that adds a lot more strategy to collecting Pokémon

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NOW WATCH: The best way to use incense in 'Pokémon GO'

Business is booming at 21st Century Fox.

Thanks to a combination of hit TV shows and strong news viewership, the media giant has seen its profits soar this quarter, according to New Vision.

CEO James Murdoch is set to speak on how his organization has achieved this success at IGNITION 2016, Business Insider's flagship conference.

The younger Murdoch brother, alongside brother Lachlan, assumed leadership of 21st Century Fox from his media mogul father in 2015. Earlier this year, James also became chairman of Britain's subscription broadcaster Sky.

James said at a recent investor conference "... our single biggest risk, our single biggest competitive threat is our own incumbency, and we have to not be afraid to get out there and innovate new products into the marketplace"

His confidence and vision for his company have got us excited to hear what he has to say at this year's IGNITION conference.

Other IGNITION speakers include AT&T CEO Randall Stephenson, IBM Watson General Manager David Kenny, and Axel Springer CEO Mathias Döpfner. IGNITION takes place December 5-7 at the Time Warner Center in New York City.

Act now — early-bird tickets are available for a limited time!

SEE ALSO: James Murdoch becomes chairman of Sky, renewing buyout talk

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NOW WATCH: Millions of people are obsessed with this app that turns you into a work of art

The new game "Deus Ex: Mankind Divided" — for Xbox One, PlayStation 4, and PC — is a love letter to Philip K. Dick, Neal Stephenson, and the 1982 sci-fi film classic "Blade Runner."

It's the sci-fi / tech-noir game you've been waiting for.

It's a gorgeous first-person game set in the not-so-distant future, where technology has gone from in your pocket to part of the human body.

If you like first-person shooters, this is a game for you. If you like sneaking around, hacking computers, and carefully completing objectives without alerting a single enemy, this is a game for you. If you prefer to talk your way out of sticky situations, rather than pull a weapon, this is a game for you.

This is the main conceit of "Deus Ex: Mankind Divided" — play however you want.

SEE ALSO: It's a terrible time to buy a new PlayStation 4

The very self-serious, brow-furrowed man you see here is Adam Jensen. He's the main character — the figurative "you" — in "Deus Ex: Mankind Divided."

Before anything else, the game asks you how much challenge you'd like. It also asks how you'd like to control the game — there are several preset options, including a new one that was apparently created with this game in mind. I went with that one, and it's fine. Folks who are more used to "Call of Duty" may want to go with the first-person shooter option. 

In the very first mission, "Mankind Divided" jumps right in with big, broad choices that impact the rest of the game.

Beyond just choosing a weapon here, you choose whether or not you want to play the game from the perspective of an agent who kills or an agent who doesn't kill. You may have already noticed that the options above are both non-lethal weapons — that's because I chose the non-lethal route. 

OF NOTE: Just because you choose non-lethal doesn't mean you can't kill enemies, and vice versa. You'll pick up plenty of lethal weapons from the enemies you tranquilize or stun, to say nothing of police station gun lockers and in-game vendors.

Let's be clear: This is a first-person game where your main form of interaction is with a weapon. If it looks like a shooter, that's because it's basically a shooter.

Hillary Clinton went on "Jimmy Kimmel Live!" on Monday night and the Democratic presidential nominee addressed a number of topics with the late-night host. But one that stood out was when Kimmel brought up Republican nominee Donald Trump's remarks that Clinton is the "cofounder," along with President Barack Obama, of the terrorist group ISIS.

"That was one of the crazier things that has been said in this campaign," Clinton responded.

Asked if the "cofounder" comment upsets her, she said, "I don’t get upset anymore, because I’d be upset all the time. So I don’t get upset. I think it’s crazy. But then I think, ‘This is like giving aid and comfort to the bad guys.’”

Clinton elaborated on why she thinks Trump's ISIS talk is actually dangerous.

"There’s enough evidence now that when Trump talks the way he talks it actually helps the terrorists because they make a case, as they made with this comment," she told Kimmel. "So I think it’s crazy but I think it’s also harmful."

Kimmel also wondered how she can prepare for the unorthodox style of Trump when they meet one another for debates.

"I want to take it seriously, I want to talk about what we can do and how important it is but you’ve got to be prepared for wacky stuff that comes at you," Clinton said. "I’m drawing on my experience in elementary school."

Watch Clinton talk about these topics in the clip below:

SEE ALSO: 6 burning questions for "Making a Murderer" season 2

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NOW WATCH: 7 things you missed in the new Star Wars Rogue One trailer

To determine the best movies since 2000, BBC Culture scoured the globe for the thoughts of film critics and received responses from 177. With those, it put together a list of the top 100 movies of this century.

There are major big-budget studio movies, like "A.I.: Artificial Intelligence" and "The Dark Knight," as well as intimate art-house titles including "Uncle Boonmee Who Can Recall His Past Lives" and "Lost in Translation."

But none of those cracked the top 10.

Below are the 10 best movies of the 21st century, according to the critics polled.

See all 100 titles over at the BBC's site.

SEE ALSO: 100 movies on Netflix that everyone needs to watch in their lifetime

10. "No Country for Old Men" (Joel and Ethan Coen, 2007)

This adaptation of the gritty Cormac McCarthy novel earned Joel and Ethan Coen Oscars for Directing and Screenwriting. It also won Best Picture and a Best Supporting Actor award for Javier Bardem as the sadistic Anton Chigurh.

9. "A Separation" (Asghar Farhadi, 2011)

The first Iranian film to ever win the Best Foreign Language Oscar, the film looks at a family who must decide whether to leave Iran to start a new life or stay home to care for a parent who is suffering from Alzheimer's disease.

8. "Yi Yi: A One and a Two" (Edward Yang, 2000)

Life for a middle-class family living in Taipei is seen through three generations.

For Netflix's hit drug thriller "Narcos," history is its biggest spoiler.

In the months leading up to season two, the show's advertising has centered on one line: "Pablo dies."

And Netflix's latest teaser trailer is focused entirely on the show's promotional hashtag #WhoKilledPablo.

The first season of the series focused on Pablo Escobar, the real-life Colombian drug kingpin, from when he first began manufacturing cocaine to when he escaped confinement in La Catedral.

The trailer then lists everyone who would want "payback" from Escobar now that he is home — the DEA and Cali Cartel are just the beginning.

The action-packed trailer promises another amazing season, though it fails to answer the question about who really killed Pablo Escobar (the final shot that killed Escobar has remained a mystery in real life, too).

Watch the new trailer:

SEE ALSO: Here are all the huge new trailers you need to see from this year's Comic-Con

Join the conversation about this story »

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Netflix is currently in production on season two of its true-crime hit, "Making a Murderer."

The docuseries follows Steven Avery, a man who had been cleared of a sexual assault charge after spending 18 years in prison.

Free and with a $36 million lawsuit pending against Wisconsin's Manitowoc County, Avery suddenly found himself at the center of the investigation into the 2005 murder of photographer Teresa Halbach.

Even worse, his teen nephew, Brendan Dassey, was accused of helping.

In the end, both Avery and Dassey were given life sentences for Halbach's murder.

Since "Murderer" was released in December 2015, many people have come away with their own takes and theories on the case. And there have been a couple major developments.

Kathleen Zellner, a defense attorney whose work has so far led to the overturning of wrongful convictions for 17 people, took on Avery's case earlier this year. She has expressed nothing but confidence that she can get Avery freed.

And Dassey's conviction was recently overturned. A federal judge in Milwaukee ruled that Dassey's constitutional rights were violated when authorities questioned him without an adult present.

All this amounts to several loose ends that need to be tied up.

Here are six questions that need to be answered on "Making a Murderer" season two:

SEE ALSO: 'Making a Murderer' convict Steven Avery's lawyer says she has a new suspect for the murder

DON'T MISS: Everything you need to know about 'Making a Murderer' if you don't want to spend 10 hours watching

How will Brendan Dassey's overturned conviction play out for Steven Avery?

The recent overturning of Dassey's murder conviction has revived the attention to Avery's conviction. But how will it play out for Avery? Will Dassey become a trial witness for his uncle? Or will Avery's attorney want to distance his case from Dassey's?

Also, there's still a chance that the state will refile charges against Dassey. Does that mean season two will once again feature Dassey's trial?

Who is new defense attorney Kathleen Zellner's alternate suspect?

During the trial and in the wake of the success of "Making a Murderer," several possible alternate suspects in the Halbach murder have been discussed in the media and fan forums. They've included Avery family members, Halbach's ex-boyfriend, and even a serial killer known for pinning his murders on others.

In March, Zellner said she was close to identifying alternate suspects among key people who knew the victim. Currently, Zellner says that she has a very good lead on an alternate suspect. Will that pan out?

Will new tests uncover that evidence was planted?

Since choosing to represent Avery, Zellner has been using new tests on the alleged crime scene and the evidence in the case. She hasn't established whether earlier tests have come up with anything that would help Avery's case, and recently told The New York Times that she's embarking on more, with results coming back within 60 days.

Nonetheless, she still feels fairly certain her defense team will come up with something.

"It may not all be successful, but I believe if even one bit of evidence is planted, the conviction is going to be vacated," she told The Times.

Will any of the tests prove that evidence was planted, as many "Making a Murderer" fans suspect, or is she bluffing?

Ten years ago, when Robert Greene learned the story of Christine Chubbuck— a 1970s TV reporter in Sarasota, Florida, who was the first person to commit suicide on live television — two things instantly came to him: "How do you make a film about someone who kills themselves?" and "I need to see the footage."

With the most mundane moments of our lives now able to be captured and immediately put online for the world to see, Greene was shocked to find that not only was no footage of the Chubbuck suicide online, but there was no video of the reporter period.

"She went on television to commit suicide so people would see it, and that has been lost," Greene told Business Insider. "There's such pathetic irony to that."

Greene began making movies that walked the line between nonfiction and fiction — like 2012's "Fake It So Real," which looks at the independent professional-wrestling circuit, and 2014's "Actress," an intimate study of character actress Brandy Burre ("The Wire").

But as the years passed, Greene couldn't escape the Chubbuck story.

With Chubbuck essentially a pre-internet folk story — the footage of it still hadn't surfaced — he decided to start the Chubbuck project, but with a unique angle.

"I never wanted to make a straightforward story," Greene said. "The title of the movie actually became the full idea."

"Kate Plays Christine," which opens in select theaters Tuesday and premiered earlier this year at the Sundance Film Festival amid much conversation, is a part documentary, part fictionalized narrative that explores Chubbuck through actress Kate Lyn Sheil ("House of Cards," "The Girlfriend Experience").

Sheil plays Chubbuck in scripted scenes depicting key moments leading up to her death while also chronicling Sheil's journey in Sarasota by talking to people who knew Chubbuck.

Greene captures the similarities between the women — Chubbuck's frustrations about not being taken seriously as a journalist in a male-dominated industry; Sheil's concerns about being pigeonholed into one type of character — while also delving into Sheil's struggles to truthfully represent Chubbuck in the scripted scenes with little to no source material. (Sheil is actually not the only actress to play Chubbuck in a Sundance movie; Rebecca Hall plays her in "Christine," which opens in theaters in October.)

"Kate is the film," Greene said. "Kate is someone I'm friends with but also someone I find very interesting to watch on screen because I don't know where things come from, and as a documentary filmmaker, I'm fascinated by that."

Sheil acknowledges, however, that her performance is not without some dramatics for the camera.

"It's simultaneously genuine and completely fabricated," Sheil told Business Insider. "It's me knowing what Robert was trying to do, being frustrated by that, but playing it up."

For example, in one scene, Sheil tries to do one of the scripted scenes but stops and tells Greene it's not working. When one of her costars gives her encouragement, Sheil lashes out at her. When asked how real that scene was, Sheil said she would never talk to another actor that way in real life.

But that aspect of performing for the camera was something Greene wanted to explore in the film, since many documentaries are not as authentic as we may think.

"If you have a camera, you have a performance — that's just a fact," Greene said. "Most documentaries are so eager to hide that because authenticity is this gift to the audience: 'I didn't make this up.' But it's a film — it's not reality. One of the things we're trying to do in the film is to take that as a starting point, not an endpoint."

And then there was the ending of the movie. Did the filmmakers want to reenact a suicide? What of substance would it give the audience?

Greene and Sheil said they didn't come up with the film's ending until the night before they shot it.

"I didn't want to pull the trigger, but flying down to Florida, the plan was to reenact the suicide," Sheil said.

Going back and forth with ideas, the two along with cinematographer Sean Price Williams finally landed on an ending they agreed on (it was filmed on the 41st anniversary of Chubbuck's death), which was greatly influenced by a discovery they made in the reporting for the movie.

"The ending, to me, is everything I care about in movies," Greene said. "The way it came about was a very documentary way. We have a scene and we've talked to people, and now it's an absolute collision of fiction and nonfiction."

A melodrama wrapped in an investigative documentary, "Kate Plays Christine" is a unique story that explores depression, female stereotypes, and privacy in a time when all-access is the norm.

It's a movie that will leave you with more questions than answers, and Greene wouldn't have it any other way.

"The point of the movie is this is what it takes to tell this story," he said. "So when the audience is asking, 'Is it real?' — 'Is Kate deciding to do that, or did Robert tell her to do that?' — we're inviting those thoughts because most films don't invite those thoughts, and it's fruitful because I think that is the nature of the Christine Chubbuck story."

SEE ALSO: 100 movies on Netflix that everyone needs to watch in their lifetime

Join the conversation about this story »

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There's a new PlayStation 4 coming out soon! It's smaller and has rounded edges and there's even a new gamepad!

Just one problem: Sony hasn't actually announced the console. So how do we know all this stuff already? Because one gentleman was already able to buy one.

SEE ALSO: It's a terrible time to buy a new PlayStation 4

DON'T MISS: This looks like a new, smaller PlayStation 4

Here it is:

Not a bad looking box! Here's another angle, stacked on top of an original PS4 (in white):

Other than a slimmer build and rounded edges, what's different about the new PlayStation 4? We've already noticed a few especially fresh changes.

1) The power and eject buttons are physical, and there's a sweet little LED light on the power button.

Anthony Bourdain is a master storyteller.

In 2000, at 44, he was propelled into stardom by his best-selling memoir, "Kitchen Confidential." It's the tell-all of a Manhattan chef unafraid to talk about the grittier side of the restaurant industry, as well as his own past struggles with drug addiction.

Its success led to another book deal, with an accompanying Food Network show, both called "A Cook's Tour." He left his role as executive chef of the Manhattan French restaurant Les Halles and became a television personality who traveled the world, next with the Travel Channel shows "No Reservations" and "The Layover," and then the CNN series "Parts Unknown."

Over the past 16 years, Bourdain, now 59, has explored the cultures and cuisines in locales across 80 countries, and he's won three Emmys and a Peabody award.

Bourdain has intentionally avoided leading any food projects since leaving the restaurant industry, but next year his name will be attached to a 155,000-square-foot (think three football fields), $60 million international market in New York City's Pier 57.

We recently spoke with Bourdain about the seventh season of "Parts Unknown," premiering on April 24, Bourdain Market, his favorite place in the world to eat, and his extraordinary career. This interview has been edited for length and clarity.

Richard Feloni: What about your experiences from your travels in this upcoming season surprised you?

Anthony Bourdain: I knew a little of the Philippines already, but this was a chance to learn about the Filipino character, and why so many of them end up as caregivers, essentially, looking after kids, looking after sick people — that instinct to give. There's also a musical aspect that seems ubiquitous. We're trying to tell a very personal Philippines story, and that was a highlight.

Senegal was a surprise. It's unlike any country I've been before. It's a slice of Islam that I think most people haven't seen, with a very different colonial history than a lot of people have seen. I think that's going to be a real eye-opener.

The situation in the Greek isles, where we shot, is very different from the mainland. They're doing fairly well in Naxos, mostly off predatory tourism, people looking for cheap prices in a buyer's market. They're doing pretty well compared to the mainland. So it's sort of an off-center perspective. And there is a shadow looming, however paradoxical it might seem, from the refugee crisis that has become an increasingly big factor in the country.

Feloni: You're now shooting an episode in Rome based on its dark fascist past.

Bourdain: It's not so much that it's a historical show. I think primarily I'm always looking to look at a place from a different perspective, and everybody's seen classic Rome and the Colosseum and the buildings of antiquity.

So I said, let's look at a completely different side of Rome, the EUR [Esposizione universale Roma, the district Mussolini intended to be Rome's new center], fascist-era architecture, early [film director] Pier Paolo Pasolini, Brutalist architecture— I deliberately tried to stay away from antiquity and monuments. Once I made that stylistic decision, I started to read a lot of history of when these structures were built and why.

I've been boning up on Mussolini-era Italy and there are a shocking number of similarities to current-day America, unfortunately.

I think it's worth remembering that Mussolini was elected. He was very, very popular, and basically could say anything he wanted on any given day of the week, completely reverse himself from his opinion yesterday and yet no one minded. I think that apparent need for a man on a horse, we might be in a similar time. I mean, I hope not.

Feloni: Are you getting at Trump specifically?

Bourdain: It won't appear in the show at all, but I hope it hangs in the air.

I mean, Mussolini served his country in combat and did a credible job, and I don't think you could say that about, you know, this guy.

Feloni: Moving to some brighter news. When did the idea for this Pier 57 market first start? When did it move forward in a real way?

Bourdain: We've been working on it for about four, five years. I've always loved those Southeast Asian hawker centers and the big wet market of Hong Kong and São Paulo and Barcelona, and I was sort of bitterly resentful as a New Yorker that we didn't have that. We should. We're a big international city, our diversity is our strength. We have millions of people from all over the world. Why don't we have a big market with democratically available, diversely priced food?

It's something we're missing, and I was given the opportunity to be part of a project that brings that to New York. I led that, and I don't know when it started to become something serious that looked like it was going to happen.

This was an opportunity that arose in New York, and I'm a New Yorker. If I was thinking if this is an extension of me, I would have had little eateries in airports years ago.

This is not a supermarket or a food center, a food hall, or any of that. This is a market that will sell produce and fish, and there will be butchers and bakers. But it will also have one-chef, one-dish specialized, independently owned and operated stalls.

And we're doing absolutely zero Italian, no Italian anything. I mean, Mario Batali does that very well with Eataly, and I don't see any need to duplicate efforts. So we'll assiduously stay away from that. It's not of any interest or expertise in any case.

Feloni: How much time will you spend working on it once it's launched?

Bourdain: There will certainly be no business within the market that I didn't say yes or no to. Will I be driving a forklift? Probably not.

Feloni: What does it mean to you to have this giant project with your name attached to it?

Bourdain: I wish my name wasn't on it! [Laughs] I think this is a great idea whether my name's on it or not. Personally, I would have been happy to live without my name on it. But wiser minds than me apparently thought it was a really important thing. I could live without that. I don't know. I've never done anything like this.

An artist's rendering of a portion of Bourdain Market, from Roman and Williams.

Feloni: Speaking of New York, I saw that you shared your favorite restaurants with The Daily Beast ...

Bourdain: Well, somehow it morphed from "What New York restaurants do you eat at when you come home from a long trip abroad" to "What are your favorite New York restaurants of all time"?

In any case, look, it's a respectable list and it accurately represents some aspects of my favorite places.

Anyways, date night is Korean barbecue. Also I love Tori Shin. I love to go for yakitori. That's sort of a go-to for me.

Feloni: What do you think of the New York restaurant scene right now?

Bourdain: I think it's good. It's come so, so, so, so far in just my lifetime. So much of what we have now would have been unthinkable 20 years ago, 25 years ago when I was still in the business.

You've got tattooed young people all over the city and all over the country making their own sausages, curing their own meat, and rotting things in their cellars, and they're acutely aware of the seasons and are aping obscure subgenres of like Basque-specific restaurants. It is a wonderful thing. And chefs are themselves empowered by this admittedly bizarre and frequently hilarious celebrity-chef phenomenon.

But what it's done is it's allowed them to cook as well as they know how, because people are interested in their best game now, and they're not showing up at their restaurant saying, "I'd like the chicken." They come in wanting to try Eric Ripert's food or Daniel Boulud's food and they don't go in there with a specific menu item in mind. I think that's a really important change in the landscape over the last 20 years.

Feloni: Why do you think that's happened?

Bourdain: I think the celebrity-chef thing. People started to put a face to the person in the kitchen, and they started to care about their opinion. And there are a lot of other factors as well, but I think that's an important one.

Feloni: How do you consider your influence? Xi'an Famous Foods, for example, blew up after you featured it on your show.

Bourdain: Look, I try not to f--- places up. You know what I mean? I'm aware of the fact that sometimes if we put this wonderful little neighborhood bar that's beloved by locals and no one else knows about it, if we put that on TV, that we could change its character forever, or that the owner might be happy for the additional money, but the other customers will be miserable and angry and I've basically ruined an important part of their lives.

I think about that a lot, and there have been occasions where we won't even give the name of the establishment that we put on camera. And there have been times where we deliberately shoot in such a way that you'll never find it.

I don't want to hurt people. I don't want to change the world in a bad way, if I can avoid it.

Feloni: In your book "Medium Raw," you start off by saying how your perspective has changed since writing "Kitchen Confidential." That was six years ago. When you look back at each of those versions of yourself, what do you see?

Bourdain: I know the guy who wrote "Kitchen Confidential" very well. He's not me anymore. I'm not boiling with rage. I don't live in this tiny, tunnel-vision world. I had such a limited view of what reality was like outside of the kitchen doors — I had no clue! I never lived with normal people. I lived in the restaurant universe for my entire adult life.

I'm no longer the star of the movie. At all. That's it!

It's a huge relief in a lot of ways. And it's such an understatement to say that having a kid changes your life. You're just no longer the first person you think about or care about. You're not the most important person in the room. It's not your film. The music doesn't play for you — it's all about the girl. And that changes everything.

Feloni: And in those past six years, do you see a change in your relationship to celebrity food culture, or cooking competitions, or branding?

Bourdain: I work really hard to not ever think about my place in the world.

I'm aware of my good fortune. I'm very aware of it, and I'm very aware that, because of it, people offer me things. Opportunities to do extraordinary things. The ones that are interesting to me are collaborations. I get to work with people who 10 years ago I wouldn't have dreamed to have been able to work with. And that's a big change professionally, and it's something that I think about a lot. How can I creatively have fun, do some interesting stuff, not repeat myself? Have fun. Play in a creative way. I like making things.

Feloni: Are there any aspects of food culture, on the Food Network or elsewhere, that still bother you? Everyone likes to talk about the tension between you and Guy Fieri, for example.

Bourdain: No. I keep saying it's fodder for comedy, but I basically do a stand-up act in 10 or 12 cities a year. I stand up in front of an audience at a theater and I'm expected to talk for an hour. If you're sitting there in front of a couple thousand people who paid a lot of money to see you, they don't really want to talk about sustainable agriculture for an hour and a half. They would like the occasional dick joke. And the dick jokes better be funny!

So if you're a middle-aged dude walking around in a flame jacket, there will be the occasional joke about you.

Feloni: Was it about the personality or the level of food as well? In your own show, you visited Waffle House with chef Sean Brock.

Bourdain: I think Waffle House is such an important part of Sean Brock's career and life. And he just was so overwhelmingly enthusiastic about it in an earnest way. And I appreciate the mechanics of what they do.

By the way, the way Waffle House works, the whole system is really interesting, and the fact that they're so completely forgiving of outrageously disgusting drunken behavior. Which is, of course, the only way to really appreciate the Waffle House. [Laughs] I gather the food tastes really good because you're drunk. But if you're drunk and at the Waffle House, it's pretty awesome.

I could think of a couple of times I ended up in the Fieri Zone. Sean Brock took me to a place that he loved and that was important in his life. And David Choe took me to Sizzler, which was genuinely important to his life.

Ordinarily, these are not establishments I would have thought of going to. I'd never been to a Waffle House — I felt kind of stupid. I wish I had known more.

Feloni: What do you think the worst thing in food culture right now is?

Bourdain: I mean, there's always snobbery of course.

A couple years ago, I'm holding my daughter's hand and I walk into the supermarket in my neighborhood — I live in the Upper East Side. We're there to buy oranges and lemons, right? And there's the organic produce and the nonorganic sections. And I automatically head over to the nonorganic and I look around and there are all these Upper East Side housewives looking at me like I'm a f---ing war criminal and they're about to call child-protective services. It was so bad that I slump over to the organic section just so these ladies wouldn't hate me.

Feloni: So it's just snobbery over nonsense?

Bourdain: I don't need a 10-minute description of my food. Look, it's annoying but not the worst thing in the world. At least people are interested enough to want to know the details. You'll hear the name of the farm, the name of the farmer, what my cattle was fed. I don't need to know all of that.

But I'm glad that people are aware and think about these things, and I'm glad when waiters and servers know. And I'm glad that chefs are making the real effort to get the best quality ingredients and that the public is more and more likely to appreciate it and even understand it. So I mean, it's good.

I just think that the great food writers, the great enthusiasts — like A.J. Liebling— is that they're not snobs. You can't be a great food writer and a snob about food and just want fancy, expensive ingredients. You have to appreciate the qualities of a properly greasy fast-food burger. Or a short-order burger, at least.

Feloni: How do you determine how your trips will unfold? Are there ever times on a shoot when you just get vicious food poisoning? Do you still abide by that early philosophy that if you eat something and get sick, it might be worth it just for the experience?

Bourdain: I've found that you're not going to have the really great travel experiences if you're not willing to experience the bad ones. If you don't leave yourself open for things to happen to you, nothing really is going to happen to you, good or bad.

The great travel epiphanies seem to sneak up on you because you kind of f---ed up, you took a wrong turn, and you ended up in a place where you permitted events to unfold. That means you're going to eat some bad meals in your life.

Because I'm with a camera crew, people are being nice to us, they're giving us their hospitality, and often a lot of their self-image or their image in the neighborhood counts on that. I try very hard to be polite. I may end up at grandma's house and I may not like grandma's turkey, but I'm sure as hell going to clean my plate and compliment her on it because it's her house. And that's a really important part of being a guest. You eat what's offered wherever you are. That's why the show works the way it does, because not just me but my whole crew take that attitude, that we're happy and grateful to be there and we're willing to try anything that's offered in good faith.

I get ill very infrequently.

Feloni: So you just have to be up for things you normally wouldn't be?

Bourdain: It depends what you're looking for. I had a very good idea when I went to Libya and eastern Congo, I had a pretty good idea what the risks were, and what it was going to be like, and I made a calculated decision. In some cases, it was worse than we anticipated, or more difficult. In others, it ended up working out pretty well.

I try not to travel stupidly. I'm not looking to go full Geraldo [Rivera] out there in my flak jacket and sticking my head out of the foxhole just for a good shot. I have the responsibility to try to stay alive for my daughter, and to not get my camera people killed on some narcissistic television show.

Feloni: And when you are back home in New York and aren't going out, do you still cook?

Bourdain: Yes. Oh, I cook a lot. I cook for my daughter every day. I prepare my daughter's school lunch every day and I'll cook dinner every night I'm home.

I have some go-to dishes. But if my daughter doesn't like the idea of something, we're sure as hell not having it. I do Christmas and Thanksgiving and often New Year's at home and invite friends and family. Then all summer long I take an inordinate amount of pleasure in being a super-normal dad, like standing in the backyard with an apron and grilling cheeseburgers and hot dogs. Though I'm a little more organized than the average dad!

I do clambakes, steamer clams, and lobster — basically the greatest hits from my summer vacations as a kid. I try to inflict them on my family. Pasta, spaghetti and meatballs — I make a decent meatball. I love making meatloaf. I cook home food. I'm not doing anything too fancy. Even when I have friends over it's pretty straight-ahead. My daughter's birthday's coming up, I'm doing roast beef, Yorkshire pudding, gravy, succotash — and, oh yeah, my daughter asked for foie gras! This is a bad sign!

Feloni: Having traveled the world several times over, is there a cuisine or part of the world that always draws you in and surprises you?

Bourdain: Japan is endlessly, endlessly interesting to me. I just returned from shooting yet another episode there with Masa Takayama and oh it was just amazing. I've made more shows there than any other country and I don't think I've even scratched the surface and I don't think I ever will.

Feloni: Do you have a favorite Japanese dish?

Bourdain: Oh, god, it's hard to pick. Give me some good uni, a really good soba with duck dipping sauce — duck dipping dressing is really amazing — and I adore good yakitori.

SEE ALSO: Ray Dalio, head of the world's largest hedge fund, explains his succession plan for Bridgewater and how its 'radically transparent' culture is misunderstood

Join the conversation about this story »

NOW WATCH: This 27-year-old quit her corporate finance job to travel the world

Last week, the video game corner of the internet erupted into chaotic mockery over the trailer for "Metal Gear Survive," the latest entry in the long-running "Metal Gear" series.

For some "Metal Gear" fans, the trailer was a travesty, a grave injustice being carried out against a series they love. For most other people, however, all the new trailer elicited was a shrug; what's so special about the other games that makes this one looks so bad?

Well, as a longtime, passionate fan of the "Metal Gear" games, I'm here to tell you all about why these strange, nonsensical games have garnered so much love over the past few decades:

SEE ALSO: Fans are outraged at the newest 'Metal Gear' game — here's why

The story is complex in beautifully nonsensical ways

The number one thing most "Metal Gear" fans love is the narrative, which spans from 1964 to 2014 across the eight core games, with spin-offs occasionally filling in the blanks. There's a lot to keep up with, as the characters routinely shape the course of global politics through their actions in each game.

Almost all of the games follow military legend Big Boss (the burly, eyepatch-clad man in the image) or the three men who were cloned from his DNA: Solid Snake, Liquid Snake, and Solidus Snake. Yes, most of the characters have names like that.

As the story progresses down its excruciatingly twisted path, players encounter Cold War intrigue, barely-averted nuclear catastrophe, a cyberpunk Illuminati, and cigarette-smoking monkeys. It frequently blurs the line between taking itself too seriously and not seriously at all, making it as engaging as it is amusing (even if it isn't always coherent).

The weirdness frequently manifests itself in the gameplay

At its core, "Metal Gear Solid" is about stealth. Though the later games in the series have allowed more freedom in enemy encounters, it's always been preferable to sleuth your way through bases undetected in order to reach the next big story revelation.

But there have always been little touches in each game that make them truly unique among other action games. You can distract guards with dirty magazines or play tape recordings of unpleasant bodily functions to throw them off your trail.

In "Metal Gear Solid V: The Phantom Pain," you build an elite paramilitary force by...putting your enemies to sleep, tying balloons to them, and sending them to your base, where they automatically pledge loyalty to you. You can even do the same to wild animals and build a little zoo!

No series has ever had more consistently outstanding boss fights

Though "Metal Gear Solid" ostensibly takes place in the real world and frequently uses real historical events to frame its own madness, the series has never cared about obeying any laws of nature. Just look at the bosses you have to fight in each game:

- Psycho Mantis was a telekinetic mind-reader who would dig into your PlayStation memory card and tell you which other games you were playing. 

- Fatman is a big guy who rollerskates around a helipad, planting bombs that the player has to defuse before they can defeat him.

- The End is a geriatric sniper who rejuvenates himself with photosynthesis and will die of old age if the player sets their PlayStation 2 system clock ahead by a week.

- The Sorrow is a ghost who doesn't fight you so much as he makes you walk down a river, avoiding the vengeful ghosts of every enemy you've killed up to that point in the game.

- Vamp is a vampire. That's it.

There are also the titular Metal Gears, which are basically walking tanks that can fire nuclear weapons. In a world with vampires and ghosts, nuclear war is still the biggest threat to mankind, somehow.