When we interviewed legendary rapper and actor LL Cool J in Los Angeles in 2014, we asked him what he considers to be the biggest mistakes people make when working out in the gym.
The "CSI: Los Angeles" star, who has also written books about his fitness philosophy, reveals that the biggest mistakes people make are both physical and psychological.
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In "The World According to Star Wars", Sunstein breaks down the origins of the "Star Wars" mythology, the reasons it became (and is still) so successful and also finds myriad parallels between the events chronicled in the science fiction saga and those happening in today's geopolitical landscape.
We asked Sunstein if he sees any parallels between "Star Wars" and the rise of presumptive Republican nominee Donald Trump.
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Warning: Spoilers ahead for "Black Mirror" season 3, episode one.
There's a reason the first episode of the new season of the hit new Netflix series "Black Mirror" is called "Nosedive."
It envisions a world in which we're completely dependent upon social media. Each of us chases after a desirable "rating" — an average score (out of 5 stars) that's affected by everything from that sideways glance you gave the woman walking past you on your morning commute to the lack of enthusiasm you displayed for the birthday gift your co-worker gave you.
It's not too far-fetched from the world we live in now. Just imagine if you combined your Uber rating with the amount of likes you got on Facebook and the number of replies you received on Twitter in the last month. Now imagine that that singular rating determined everything about your life, from where you worked to the home you were eligible to live in.
Voila! Welcome to "Nosedive."
This is precisely the reason "Black Mirror" is so compelling. It's not your typical science fiction, which envisions the world 100 or 1,000 years from now. It imagines next year. Next month.
A psychological principle called the "hedonic treadmill" is the real fuel that would, in theory, drive us toward this pathetic and debilitating future. In essence, because we're always on the hunt for that next thing that'll make us feel good, it's almost impossible for us to just be— and just being, research suggests, is one of the key ways to feel truly happy.
In one particularly evocative scene, the main character, Lacie Pound (played by Bryce Dallas Howard) discovers the only way she can afford the apartment she wants — in the prestigious Pelican Cove Lifestyle Community — is by raising her rating and becoming a "preferred" member. A higher score of a 4.5, the leasing agent tells her, would qualify her for a 20% discount. But she's several percentage points away at a meager 4.2. The remainder of the plot focuses on Lacie's initially promising — but ultimately devastating — attempt to raise her score by speaking at the wedding of a childhood friend with an envious 4.8 rating.
In the end, after brandishing a knife in the middle of a very public nervous breakdown, Lacie is arrested and jailed. The episode ends in the middle of a vicious but comical insult-throwing match between Lacie and the man in the cell across from her.
All of Lacie's pursuits fall into line perfectly with the hedonic treadmill principle, which some psychologists have used to explain why so many of us feel unsatisfied with our lives. If we get a job promotion, for example, we'll celebrate and feel good for a moment, but those joyful emotions are fleeting. Soon enough, we'll be back to where we started — on the hunt for the next feel-good thing and, therefore, unhappy. In the early 1990s, British psychologist Michael Eysenck likened this constant starvation for more and more to a treadmill— hence the name.
"You're running but you're on that treadmill and you're not getting anywhere in terms of happiness," science journalist Wendy Zukerman explained on a 2015 episode of her podcast series "Science Vs" about happiness.
Eventually that temporary boost in happiness you get from a job promotion or marriage proposal will abate, and you'll be back to the same baseline level of happiness you were before the exciting change.
And that's precisely what Lacie Pound experiences. Every time she gets a four or five-star rating, her bright blue eyes light up. She smiles and giggles with a high-pitched glee. But at the end of the day, Lacie is lonely and unsatisfied. She lives with her brother. We don't meet any of her close friends. She feels alienated by her co-workers. The wedding she's attending is for a friend who she has not been close with for ages and clearly doesn't trust.
In the part of the episode where Lacie views the apartment of her dreams, she's shown a virtual reality scene of herself making dinner in the kitchen with a lover — and it's this romantic vision that seems to goad her into pursuing the 4.5 rating. She wants companionship. She wants relationships. And she'll do anything — even if it goes against her instincts, even if it's all, ultimately, a big lie — to get there.
Unfortunately, Lacie continues to pursue what she thinks will make her happy, like a high social media rating, while completely disregarding the things that might actually make her happy, like friendships with her co-workers or a real relationship with her brother. In the real world, many of us make Lacie's mistake over and over again.
Study after study has found that when we engage with social media platforms like Facebook and Twitter, we may feel a temporary boost from likes or favorites, but there's absolutely no link between social media use and long-term happiness. Some research suggests the opposite, in fact: that social media use is linked with an increase in negative feelings. A January study of 1,787 young US adults sponsored by the National Institute of Mental Health, for example, found a “strong and significant association between social media use and depression." Participants' depression levels, the researchers found, increased alongside the total amount of time spent using social media and the number of weekly visits to social media platforms.
Nevertheless, driven by the hedonic treadmill, we keep using it. We "check" Facebook, Twitter, and Instagram as if there's something real there for us to find there. But all we ever get is a "like" or a "fave." And a swipe or a scroll is all it takes to wipe them away.
Fortunately, some research suggests there's a limit to how far this hedonic principle will ultimately drive us. That research helps explain why we don't merely spend all of our time doing pleasurable activities, and why we still somehow manage to do things like work and chores. Sure, we do sometimes gravitate towards things that make us feel good in the short-term. But we also manage to do things that aren't inherently pleasant — like the laundry or the dishes — because we know those activities will help us feel satisfied in the long-run.
This could be good news for those of us concerned with turning into Lacie Pound. So long as we're aware that social media doesn't turn into long-term happiness, we'll always withdraw from it — at least temporarily — to do things that will give us those long-term rewards.
A study published in August in the journal Proceedings of the National Academy of Sciences which looked at the type of activities people engage in when they're either feeling happy or feeling sad, for example, found that we tend to gravitate towards boring activities like chores when we're in a good mood. On the other hand, we do things like going on a hike or getting drinks with friends when we're feeling low. This suggests that our happiness is something of a reserve, the study authors told Business Insider.
"Our positive emotion, perhaps, can be seen as a resource," Dr. Jordi Quoidbach, one of the study's lead authors and a psychology professor at Barcelona's University Pompeu Fabra, told us in August. "When we don't have enough, we need to replenish it, but as soon as we have enough, we can potentially use that to get things done."
Of all the logged activities the researchers studied, spending time with other people had the strongest link to positive emotions, while using social media had either a neutral or slightly negative link.
In other words, since social media doesn't do anything for our longterm happiness, it's tough to imagine a functioning society that's 100% dependent upon it. If we ever tried to create one, most of us would probably end up like Lacie Pound does at the end of the episode — screaming at a stranger from inside a prison cell.
SEE ALSO: Here are 25 habits that psychologists have linked with happiness
DON'T MISS: Psychologists say this is the simplest way to get — and stay — happy
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NOW WATCH: The simplest way to get — and stay — happy, according to psychologists
The witching month is upon us!
Get your favorite black cat, your loosest anthropomorphic skeleton, and your best pumpkin carving tools out from storage — it's time to get wild in the streets. If nothing else, it's time to listen to Tim Curry classic, "Anything Can Happen on Halloween."
Wait! Where are you going? Come back! We're not trying to scare you away.
We've put together the 19 scariest games for you to play in the lead up to All Hallows Eve and the subsequent Halloween festivities on October 31!
SEE ALSO: 14 eerie vintage photos show how Americans used to celebrate Halloween
"Silent Hill: Shattered Memories" is the most interesting entry in the long-running "Silent Hill" series — a series that largely revolves around third-person puzzle solving and the occasional action bit. What's different about "Shattered Memories" is it has a huge, crazy story twist, and it's available on the Nintendo Wii. If you dare!
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Though you'll need a Nintendo GameCube to enjoy "Eternal Darkness: Sanity's Requiem," we can't suggest it enough. It takes your expectations for a horror game and contorts them in exciting, unique ways. On its face, it's just a third-person action game. But in reality, it's a terrifying exploration of player agency and unreliable narrators.
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The newest entry in the "Fatal Frame" series has been out for some time in other parts of the world, and it's heading to North American Wii U game consoles on October 22nd. If you've ever wanted to carefully snap photos of ghosts before they're able to murder you, this is your big chance.
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Some say we are living in a "golden age" of television. That may or may not be true, but there's one thing that's certain: we're living under an absolute torrent of scripted shows.
Over the last few years, the amount of original scripted shows has roughly doubled, from 216 in 2010 to 419 in 2015. And it's shown no signs of slowing down in 2016.
One big driver has been the entrance of streaming heavyweights like Amazon and Netflix, which began making originals in 2013. Netflix has said it will release a whopping 1,000 hours of original shows and movies in 2017. That would take you 41 days of binge-watching to get through.
But it's not just Netflix. Cable networks have also ramped up production in a serious way.
A recent chart from Deutsche Bank shows just how much the landscape has exploded since 2002. Here it is:
This might be good for customers, who have more choice than ever, but it's not good for some TV networks.
One such network, which analysts from Pacific Crest pointed to in a recent note, is AMC.
AMC built its recent success out of high-quality dramas like “Breaking Bad,” “Mad Men,” and “The Walking Dead.” But these types of shows have become a commodity, according to the analysts.
"The explosion in high-quality original dramas driven by [streaming video on demand] companies [like Netflix] has commoditized an area of programming that AMC helped popularize and represents the core of the network's brand,” they wrote.
Pacific Crest's thesis is that there are simply too many good serialized dramas being produced, especially by streaming services, and AMC is suffering from the glut. Pacific Crest had been hopeful that AMC’s strength of programming would continue to help it prosper, but now the analysts are significantly lowering their ad revenue estimates going forward, and think “continued declines for existing AMC programming are likely."
That sounds dire, but networks like AMC may be in for some relief.
FX boss John Landgraf says the sheer volume of shows will have to go down soon. “I will still stick by my prediction that we are going to hit a peak in the scripted series business within the next two and a half years — and then see a decline — by calendar (2019) at the latest,” he said in August.
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It's October, the perfect time for scaring yourself with a spooky film.
Some people adore the rush they get from watching a horror flick; others can't stand how filmmakers somehow worm their way into your consciousness, building up tension and then striking that moment of terror with a jump scare or with some creepy moment that seems to burn itself into your brain.
Using images and sound, the best horror directors are able to tap into a part of your brain that operates purely on instinct.
When you sit down to watch "The Witch" or "The Ring," you know that the movie obviously isn't real. And yet somehow, the best scary films put you on the edge of your seat, ready to jump — sometime actually eliciting a yelp or a gasp.
That's a powerful effect.
"Usually when we're watching something we've shut down the motor regions of the brain, and yet those stimuli [from a shocking scene] are so strong that they overcome the inhibition to the motor system," says Michael Grabowski, an associate professor of communication at Manhattan College and the editor of the textbook "Neuroscience and Media: New Understandings and Representations."
We jump or yell because a film bypasses our tranquilized state and taps into a primal instinct, which is to react immediately to protect ourselves and warn others — before taking time to process what scared us.
"The scream is a way to alert others in your social group and scare off attackers," says Grabowski.
These scary moments supersede our rational thought process that knows they aren't real.
Grabowski's background is in filmmaking, but his research now is focused on an emerging field called "neurocinematics," which focuses on the connection between the mind and the experience of cinema.
While filmmakers have been able to evoke emotional responses in viewers for more than a century, it's only now that modern neuroscience can show us what's happening in someone's brain.
This goes beyond horror, too. Think of the last time that you felt emotion while watching any film, whether you laughed or suddenly felt tears welling up in your eyes during "Inside Out." Despite knowing that what you're watching isn't real, you feel real emotion.
But as Uri Hasson, a researcher and professor who focuses on neuroscience and psychology at Princeton, discovered when conducting the study that first coined the term "neurocinematics," people watching something scary or suspenseful tend to have particularly similar responses in their brain.
For now, that insight is mostly helping us understand what that fear looks like in the brain. But some researchers think that modern filmmaking, with an updated understanding of neuroscience and psychology, is actually better able to tap into emotion than it used to be.
As Dutch media studies professor Patricia Pisters wrote in a recent essay for Aeon, "in contemporary thrillers, the spectator knows just as little as the characters, and is immediately drawn into the subjective emotional word of the protagonists. As spectators, we indeed experience the world increasingly 'inside out' and have direct access to the drama of the neural mechanisms of emotion. We are taken on a neuronal rollercoaster that will eventually give us the story."
In the future, says Grabowski, it's possible that filmmakers will be able to use even more precise insights to directly stimulate certain emotions, to control when their audiences jump and what they feel.
When you combine that with powerful technologies like virtual reality, something that makes it even harder for us to tell reality from fiction, the possibilities are fascinating and even a little scary. (If you have a Cardboard headset, check out the terrifying short film "Catatonic" — the future of interactive media is somewhat terrifying.)
It's like the dream of Alfred Hitchcock that Pisters cites in her essay, quoted from Donald Spoto's biography of the filmmaker.
"The audience is like a giant organ that you and I are playing," Hitchcock reportedly told scriptwriter Ernest Lehman. "At one moment we play this note, and get this reaction, and then we play that chord and they react. And someday we won't even have to make a movie — there'll be electrodes implanted in their brains, as we'll just press different buttons and they'll go 'oooh' and 'aaah' and we'll frighten them, and make them laugh. Won't that be wonderful?"
SEE ALSO: Technology is eroding our ability to understand what's real and what's just an illusion
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NOW WATCH: What happens to your brain and body if you don’t get enough sleep
Man, did this quickly become the franchise no one wanted!
With an estimated $15 million over the weekend, according to Exhibitor Relations, "Inferno" the third screen adaptation of a Dan Brown novel, which started with "The Da Vinci Code" in 2006, crashed and burned at the box office this weekend.
"Inferno" is the lowest opening of the three movies ($77 million for "The Da Vinci Code;" $46.2 million for "Angels & Demons") and is more than a 60% drop from the opening "Angels & Demons" had in 2009.
It's also below the $20 million projection made for the movie this weekend.
Released by Sony, the adult-catered franchise starring Tom Hanks has certainly disinterested audiences since Brown's best-selling novel "The Da Vinci Code" hit shelves in 2003.
But the same can't be said for the long-standing Madea franchise.
Tyler Perry's latest, "Boo! A Madea Halloween," played spoiler last week by taking the number one spot at the box office over the Tom Cruise-starrer "Jack Reacher: Never Go Back" and this week it took down Hanks.
"Boo!" won the weekend box office for the second time in a row, taking in an estimated $16.6 million, according to Exhibitor Relations.
A strong 71% spike in ticket sales for "Boo!" on Saturday from the $4.6 million it made on Friday proved to give the Perry comedy the edge.
Though none of these figures are ground-breaking, business at the box office will certainly pick up next week as Marvel's "Doctor Strange" hits theaters.
SEE ALSO: Why the movie that HBO's "Westworld" is based on was way ahead of its time
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NOW WATCH: The 7 best horror movies you can stream on Netflix right now
Forget about those hokey attractions at amusement parks. There are real haunted houses spread across America.
We're talking about the true-blue, creepy-as-can-be haunted houses. The houses where local residents claim they hear voices and where serial killers dumped their victims. The places that carry legends of entire families vanishing into thin air and that serve as a backdrop for murders and suicides. Or, the places that just look like something horrifying happened there.
Photographer Seph Lawless braved these collapsing buildings for his new photo book, "Autopsy of America: The Death of a Nation." Captioned with the photos are the urban legends and tales Lawless heard about the houses he photographed, coupled with information from some corroborating news reports.
SEE ALSO: The 16 most cliché Halloween costumes of 2016
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November is almost here, so it's time to say bye to some titles on Netflix.
A whole lot of classics are leaving the streaming giant.
Movies we're sad to see go include "E.T. the Extra-Terrestrial," "Deliverance," "Fatal Attraction," and "Major League," and there are only a few weeks left to watch the teen classic "Can't Hardly Wait" (you know you'll miss it).
Here's the full list of everything leaving Netflix in November. We've highlighted some of the titles you should check out one more time before they disappear.
SEE ALSO: The 23 scariest horror movies on Netflix you need to watch for Halloween
“The Addams Family”
“Almost Famous”
“Angel Heart”
“Barnyard” “Bratz: The Movie”
“The 'Burbs”
“Can't Hardly Wait”
“Chuck” (Seasons 1-5)
“The Core”
“Deliverance”
“E.T. the Extra-Terrestrial”
“Echelon Conspiracy”
“Eight Crazy Nights”
“Empire State”
“Equilibrium”
“Escape to Witch Mountain”
“The Family Man”
“Fatal Attraction”
“Fresh”
“Get Rich or Die Tryin’”
“The Holiday”
“Into the Wild”
”Kangaroo Jack”
“Legally Blonde”
“Legally Blonde 2: Red, White & Blonde”
“Major League”
“Mansfield Park”
“Meet Joe Black”
“Mel Brooks: Make a Noise”
“Open Season”
“Open Season 2”
“Open Season 3”
“Patton Oswalt: My Weakness Is Strong”
“Powerpuff Girls” (Seasons 1-6)
“Rounders”
“Scream 2”
“Sex: My British Job”
“Shameless” (Seasons 1-10)
“Sky Captain and the World of Tomorrow”
“Something's Gotta Give”
“The SpongeBob SquarePants Movie”
“Spy Game”
“The Sum of All Fears”
“Total Drama World Tour”
“Underground: The Julian Assange Story”
“Urban Cowboy”
“Varsity Blues”
“What Women Want”
“The English Teacher”
“Gigli”
Over the course of 15 years and four travel shows, Anthony Bourdain has toured 80 countries, delving into their histories and eating as much of their food as possible.
If you ask him, as Business Insider did earlier this year, what his favorite destination is, he will immediately tell you it's Japan.
"Japan is endlessly, endlessly interesting to me," he said. And even after going on nine filming trips there, "I don't think I've even scratched the surface and I don't think I ever will."
He's especially in love with Tokyo.
"If I had to eat only in one city for the rest of my life, Tokyo would be it," Bourdain wrote for CNN in 2013 on his "Parts Unknown" blog. "Most chefs I know would agree with me. For those with restless, curious minds, fascinated by layer upon layer of things, flavors, tastes and customs which we will never fully be able to understand, Tokyo is deliciously unknowable."
"It's that densely packed, impenetrable layer cake of the strange, wonderful and awful that thrills. It's mesmerizing. Intimidating. Disorienting. Upsetting. Poignant. And yes, beautiful."
We asked him for his go-to Japanese dishes. "Oh, God. It's hard to pick," he said. "Give me some good uni [sea urchin], a really good soba [buckwheat noodles] with duck dipping sauce — duck dipping dressing is really amazing — and I adore good yakitori [skewered and grilled chicken pieces]."
Japan's "uniquely kooky national schizophrenia," as he calls it in his 2010 essay collection "Medium Raw," gels perfectly with the way he approaches traveling.
"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," Bourdain told us. "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."
On Tokyo in particular, he wrote for CNN, "I'm sure I could spend the rest of my life there, learn the language, and still die happily ignorant."
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Note: Spoilers are ahead for previously aired Westworld episodes, as is some potentially spoiler-y speculation for future episodes.
Something is wrong in "Westworld."
HBO's sci-fi western drama — a serialized reboot of Michael Crichton's 1973 thriller by the same name — depicts a fantastical robot-filled "theme park" of the future.
Westworld guests can interact with artificially intelligent "hosts" — gunslingers, brothel madams, a farmer’s daughter, Native Americans, and more — taking part in all the sex and violence that can be jammed into these characters’ storylines. And all of it teed up by the people who are essentially Westworld's game designers.
But as visitors ride, terrorize, shoot, and sleep with the park's robot hosts, the designers operating behind the scenes soon discover that something is off.
Along the way, Westworld’s story brushes up against all kinds of uneasy questions — mainly scientific and philosophical — about the complex intersection of technology and people.
While we can't say where the show is going, or whether it will ever answer any of these questions, here are some of the most interesting ones we’ve spotted so far.
Everyone in Westworld wakes up to go about their day — working, drinking, fighting, whatever it may be — without knowing that their entire existence is a simulation of a “real world” created by the park’s designers.
Physicists and philosophers say that in our world, we can’t prove we don’t live in some kind of computer simulation.
Some think that if that is the case, we might be able to "break out" by noticing any errors in the system, something the Westworld robots seem to be brushing up against.
Each time the park wakes up (or the simulation restarts?), the hosts are supposed to go about their routines, playing their roles until some guest veers into the storyline. The guest might go off on an adventure with the host — or they might rape or kill them. In any case, when the story resets, the hosts' memories are wiped clean.
Supposedly.
For some reason, a few hosts seem to remember their disturbing past lives. This may be related to a “software update” created by park founder Dr. Robert Ford (played by Anthony Hopkins) or it may have something to do with his mysterious co-founder, Arnold.
Luckily, and for a variety of reasons, AI researchers today believe out-of-control AI is a myth and that we can control intelligent software. Then again, few computer and linguistic scientists thought machines could ever learn to listen and speak as well as people — and now they can on a limited level.
Behind the scenes at Westworld's headquarters, advanced industrial tools can 3D-print the bodies of hosts from a mysterious white goop. Perhaps it's made of nanobots, or some genetically engineered tissue, or maybe it's just plastic that's later controlled by as-yet-undisclosed advanced technology.
There's a lot of mystery here, and as we find out in one episode (when a host smashes his own head in with a rock), the "thinking" part of the machines is definitely located in the head. But what's it made of? And what powers these strange constructs? And how are the batteries recharged, if at all? Can (and how do) they feel pain and pleasure?
These automatons seem like an engineer's dream as well as her nightmare.
Nothing like this exists in the real world, but researchers and entrepreneurs are working hard to advance soft robots, ultra-dense power sources, miniaturized everyday components (some down to an atomic scale), and other bits and pieces that might ultimately comprise a convincing artificial human.
Rejection can feel genuinely devastating.
But as some of the world's most successful people prove, failure is often par for course.
Grit, perseverance, resilience— whatever you call it, many influential people show that the key to success is the ability to embrace failure and adapt to change change with confidence.
For a little inspiration, we've put together a list of indisputable successes, from movie stars to scientists, who had to rebound from massive failure before they found fame and fortune.
Scroll on to see the underdogs who went on to change the world.
Rachel Sugar contributed to an earlier version of this article.
SEE ALSO: 19 highly successful people who prove it's never too late to change careers
DON'T MISS: 10 real rejection letters successful people have received
Before her Harry Potter series sold more than 450 million copies, won innumerable awards, was made into a hit movie franchise, and transformed Rowling's life, she lived in a cramped apartment with her daughter, jobless and penniless, and felt like the biggest failure she knew.
Rowling has said she received "loads" of rejections from book publishers when she first sent out her "Harry Potter and the Philosopher's Stone" manuscript, and she tweeted that she pinned her first rejection letter to her kitchen wall because it gave her something in common with her favorite writers. "I wasn't going to give up until every single publisher turned me down, but I often feared that would happen," she said.
London publishing house Bloomsbury finally gave her book the green light in 1997, and she is now one ofthe world's top-earning authors.
In Judd Apatow's book, "Sick in the Head — Conversations about life and comedy," Seinfeld recalls that the very first time he performed stand up, he bombed.
Though he had rehearsed his material thoroughly the night before, when he stepped out on stage, he couldn't remember a word of his act. "I stood there for about thirty seconds ... saying absolutely nothing, just standing there, freaking out. I just couldn't believe it."
After improving his stand-up act, the comedian earned a small role on the sitcom "Benson." But, according to the New York Times, Seinfeld and the show's producers clashed over the character's direction, and he was fired after only four episodes.
Unfortunately, no one bothered to tell Seinfeld he'd been cut, according to "Jerry Seinfeld: Much Ado About Nothing." Seinfeld showed up for a read-through of the script one day and found there was no copy waiting for him. The assistant director pulled him aside and told him that they had neglected to inform him he was no longer on the show.
Seinfeld was humiliated, but he went right back to performing at comedy clubs. After one performance, a talent scout for the "Tonight Show" was in the audience. Seinfeld landed a gig on the show and his career immediately took off.
"Keep your head up in failure, and your head down in success," the comedian wrote in a Reddit AMA.
In 1919, Disney was fired from one of his first animation jobs at the Kansas City Star newspaper because his editor felt he "lacked imagination and had no good ideas," according to "The Wisdom of Oz."
That wasn't the last of his failures. Disney then acquired Laugh-O-Gram, an animation studio he later drove into bankruptcy. Finally, he decided to set his sights on a more profitable area: Hollywood.
He and his brother moved to California and began the Disney Brothers' Studio, eventually creating Mickey Mouse and Disneyland and winning 22 Academy Awards.
Warning: There are spoilers ahead for "The Walking Dead."
Sunday's "The Walking Dead" finally introduced two anticipated characters from the comics onto the show. The series took a break from Rick and the gang after the bloodbath of the season seven premiere to introduce viewers to the Kingdom, another community with survivors from the apocalpyse.
The big surprise to some may have been the reveal of the Kingdom's leader, a man who goes by King Ezekiel and rules over his realm with a ferocious tiger, Shiva.
Fans loved it.
THEY MADE SHIVA SO PERFECTLY! i'm so happy #twd
— taci 💫 (@BreatheReedus) October 31, 2016
DUDE HAS A PET TIGER I'M DONE 🐯😂#TWD#TheWalkingDead
— Wanted Used Tampons (@MiztakezWeRmade) October 31, 2016
King Ezekiel and his pet tiger look so badass #TheWalkingDead
— Rylie Weidhaas (@rylieweidhaas) October 31, 2016Exactly.
WE SHOULD TAKE SHIVA, AND PUSH HIM IN FRONT OF NEGAN. #TheWalkingDeadpic.twitter.com/XMQDTRPY31
— Rick Grimes (@RickAndThangs) October 31, 2016Carol (Melissa McBride) was immediately skeptical of the too-good-to-be true settlement after a few encounters with various enclosures over the past six seasons.
If you weren't buying the fairytale either — King Ezekiel quotes were plastered across various walls inside the Kingdom — there's nothing to worry about. Ezekiel's the real deal.
Introduced in issue #108 of the comic, Ezekiel is good friends with Jesus/Paul Monroe who entered the show last season. We haven't seen the two interact in the the series yet, but we wouldn't be surprised if we see Jesus visit the Kingdom at some point this season.
As hinted throughout the episode, Ezekiel may become a great asset and ally to Rick and the Alexandrians down the line. Ezekiel's Kingdom also has a deal going on with the Saviors in which they need to provide them with supplies and/or food.
If you don't read the comics, you were probably most curious about the tiger, Shiva, who was first teased in the season seven trailer that debuted at San Diego Comic-Con this summer.
Did "The Walking Dead" have a real tiger fill in as inspiration for the Kingdom's royal feline?
INSIDER asked "The Walking Dead" creator Robert Kirkman and showrunner Scott Gimple about bringing the tiger to life on the series and Kirkman confirmed that Shiva is CGI.
"I was asking Scott [Gimple], 'How do we plan on doing this thing?' He pointed out that it's not particularly humane to have like a live tiger on set and it's also very dangerous for the actors," Kirkman told us at San Diego Comic-Con.
Though there wasn't a real tiger used on set, Kirkman poked fun at what it would have been like if one was there.
"When we needed it to really act, we wouldn't feed it," joked Kirkman. "But yeah, so I was like, 'Great! No real tiger. I can still come to set. That sounds awesome because I would not have gone to set if there had been a real tiger anywhere near set. So there's no real tiger at all. It's all magic."
"It's the dragon from 'Game of Thrones,' shrunk, slightly changed in proportions," showrunner Scott Gimple interjected. "And we add ..."
"Tiger lens," Kirkman suggested.
"Yeah. It's just a filter," Gimple played along. "You guys don't have that on your phones?"
Can't say that we do unfortunately. But we'd love anything combining "Game of Thrones" and "The Walking Dead."
During "The Walking Dead" aftershow, "Talking Dead," the crew revealed a bit about how they mixed digital and practical effects to bring Shiva to life.
While there was plenty of CGI, there was an animatronic tiger on set too.
"The biggest challenge with any of this stuff is merging the practical with the digital," said executive producer and episode director Greg Nicotero on "The Talking Dead." "For seven years, we've been doing all these dead, horrible things, so to build something that's so beautiful and so elegant [it's something] I've been excited about since day one."
Later on, the crew added in how the muscles would move along with other nuances.
You can see more of how Shiva was created below:
What did you think of Shiva and Ezekiel's entrance onto "The Walking Dead"?
SEE ALSO: Fans are freaking out about a potential budding romance on "The Walking Dead"
AND: The preview for next week's "The Walking Dead"
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Warning: Spoilers ahead for "Westworld" episode five.
The fifth episode of "Westworld" was jam-packed with surprising reveals and more gunslinging than ever. Among the many significant scenes and exchanges between characters, there were a few key moments you might have glossed over.
Scroll down for a look at seven significant moments from the latest "Westworld" episode.
Several scenes in the episode show Dolores speaking to a voice in her head — a voice we're beginning to believe is Arnold. In the beginning of the episode, "Arnold" says "find me" to Dolores, and she asks him to show her how.
There are flashes of the town with the white church again, but no concrete instructions. Then, right after William and Logan are introduced to El Lazo/Lawrence, Dolores gets one more important "flashback."
After seeing the train station, and other scenes from the town with the white church, Dolores jumps in and talks to Lawrence.
"There's something you're seeking, isn't there?" she asks. "I know what that feels like. I'm seeking something too. If you let us, I know we can help you."
This is probably some secret phrasing meant to trigger Lawrence into leading the "seeker" towards the maze. We know Lawrence was a critical part of the Man in Black's maze-quest, so it makes sense he'd be part of Dolores' too.
At the end of this episode we see that Dolores and William have gotten onto a train with Lawrence. Perhaps that train is heading for the town with the white church?
After Dolores makes her plea to Lawrence he laughs and says to the crowd around him : "How is it the lunatics always find their way to me?"
Though this sounds like a dismissal of her, Lawrence might have been somehow referencing Arnold's original design of consciousness.
Back in episode three, Bernard and Ford had an important conversation about lunatics and the voice of God.
John Oliver really tried not to talk about the 2016 US presidential election on Sunday night's "Last Week Tonight."
A fascinating election in Iceland where pirates ran for office was on tap, he noted (referring to the country's Pirate Party). And an Austrian election was being postponed because of defective glue on ballot envelopes.
But then Anthony Weiner went and messed all of that up.
On Friday, the FBI announced that it had discovered emails on the former congressman's laptop from his estranged wife, Huma Abedin, that passed through Democratic presidential nominee Hillary Clinton's private server. Abedin is one of Clinton's top aides.
The FBI discovered the emails while investigating Weiner, who was suspected of sending explicit messages to an underage girl.
"If this s----y development in a s----y campaign season were not grim enough, there was also the matter of where this latest problem came from," Oliver said. "It's true. It seems Anthony Weiner is forcing the nation to relitigate the entire email controversy, and putting Hillary Clinton's chances of winning the presidency in serious danger — Carlos Danger."
Oliver then broke into a dance as the popular 2000 song "Danger" by rapper Mystikal began to play.
"Carlos Danger" is the name Weiner used as an alias when sending explicit photos to a woman in 2013.
The late shows had a field day with the name at the time. That included "The Daily Show," where Oliver, who was a correspondent at the time, would dance to the Mystikal song when talking about it.
"I'm not having fun! You're ruining my dance," Oliver joked on Sunday while bringing back the old bit.
Watch the entire segment below:
SEE ALSO: Here's everything coming to Netflix in November that you need to watch
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NOW WATCH: Some of Clinton's harshest critics are actually slamming the FBI for the timing of its announcement
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Apple TV developers are finally seeing the living room device as a viable platform for app development.
There are now more than 8,000 Apple TV apps available, representing growth of around 700% from the 1,000 apps reported over the same period last year, according to comments made by Apple CEO Tim Cook last Thursday.
And although that's still a drop in the ocean compared with the more than 2 million smartphone apps available, this remarkable growth is a boon for the new platform, which has been suffering from user engagement issues. Apple also unveiled a new Apple TV app, called TV, aimed at helping users better navigate Apple TV content.
Apple tvOS developers are struggling to keep users engaged, according to mobile analytics firm Adjust. The analysis of almost 300,000 app users, of which 2% are active Apple TV users, found the following:
Aside from discovery issues, low engagement rates may be a result of the passive nature of the Apple TV experience. That is, the content viewed on TVs typically includes videos, pictures, and streaming TV, notes TechCrunch. Still, the Apple TV is a relatively new platform, giving the company time to introduce new ways to make it a much more engaging experience for users, in turn increasing its value for developers. The introduction of Apple's new TV app is one way the company is working to do this.
But if Apple TV does truly take off, then where would it fit in the future of the television landscape?
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:
In full, the report:
Interested in getting the full report? Here are two ways to access it:
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Miles Teller has zero regrets about not being part of the "Star Wars" saga.
Before newcomer Alden Ehrenreich was chosen to play young Han Solo in the upcoming standalone movie on one of the franchise's most beloved characters, Teller was one of the better-known names who auditioned and was shortlisted for the role late last year.
Though Teller admits, he never knew how far his name got in consideration for the role until he read reports about the casting.
"I didn't know that I was on a shortlist for that role," Teller told Business Insider while promoting his upcoming movie "Bleed for This" (opening in theaters November 18). "I actually did find out about that through the press. I didn't know that the list was narrowed down and I was a part of it."
But thinking back on it, Teller is relieved he didn't get the young Solo role.
"Having done a huge movie with 'Fantastic Four' with a built-in audience and reviving it in a way, I knew what that would be so I think for me it wasn't just like, 'Oh my God, this is so amazing.' There's also some caution there and some hesitation because I know how passionate the 'Star Wars' fans are," Teller said. "I just went through an experience where the fans were very pissed off, apparently, at what we did with their beloved franchise."
With "Bleed for This" — a biopic in which he plays boxing champ Vinny Pazienza, whose career was jeopardized after a near-fatal car crash — Teller returns to the dramatic work that got him attention in Hollywood, like "The Spectacular Now" and "Whiplash."
But he maintains he also has no regrets about making "Fantastic Four" or being a part of the "Divergent" franchise.
"I felt I got to do a lot of different things before the age of 30," he said. "Those big films, yeah, it's a lot of your life, but they also play all around the world and you get to connect to audiences that maybe smaller American independent films don't, so I have savored all the experiences and I've learned a lot from them."
After a breath, he added, "I'm cool right now not being attached to a franchise."
SEE ALSO: Why the movie that HBO's "Westworld" is based on was way ahead of its time
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