Recently at Business Insider's annual flagship conference IGNITION, we caught up with WWE Chief Marketing Officer and Chief Revenue Officer Michelle Wilson. As one of the company's top executives, Wilson spends a lot of time with the company's Chairman and CEO, Vince McMahon. 

Over the course of almost four decades, McMahon has essentially conquered the world of professional wrestling, despite tough competition from rival promoters. We asked Wilson what it's like to work with McMahon, and to reveal the most valuable lesson she's learned from him during her time at the company.

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If you're not familiar with "Rogue One" star Felicity Jones, you're missing out on one of the top young actresses working today.

It's time to fix that.

Jones, 33, received an Oscar nomination for her performance playing Stephen Hawking’s wife Jane in 2014's "The Theory of Everything," and recently found acclaim in the indie "A Monster Calls."

But playing rebel Jyn Erso in the latest "Star Wars" movie, the one-off "Rogue One" (opening Friday), she's become one of the most recognizable faces on the planet. 

Here's how Jones went from child actor to the latest "Star Wars" heroine:

SEE ALSO: The 10 biggest box office bombs of 2016

Jones grew up in Birmingham, England, where she was encouraged to get into acting by her uncle, actor Michael Hadley (“Pirate Radio”). Her first role was at age 12 in the 1996 UK TV movie “The Treasure Seekers,” co-starring Keira Knightley.

From 1998 to 2001 she starred in the popular UK shows "The Worst Witch" and its follow-up, "Weirdsister College." She went back to school and graduated from Wadham College in 2006.

Jones soon went back to work on TV. She made an appearance on an episode of "Doctor Who" in 2008, and popped up in movies like 2009’s "Cheri" with Michelle Pfeiffer, as well as 2010’s "The Tempest," alongside Helen Mirren.

There seems to be an almost universal consensus that this year was pretty awful when it came to the news, but we also had lots of weird stuff on the internet to cheer us up. From a frog riding a unicycle to a gorilla that will live on forever in our hearts and our Twitter feeds, 2016 was jam packed with memorable memes. Here is a look back at the best of the bunch.

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I am a Mario superfan. I've been playing "Super Mario" games as long as I can remember, from "Super Mario Bros." on NES through "Super Mario 3D World" on the Wii U.

I am, to put it lightly, very excited for the debut of "Super Mario Run" on Apple's iPhone and iPad — the first Mario game for Apple's hardware. The game comes out today, December 15!

But it's not out quite yet.

There is, however, one way to play it early: Apple stores across the US loaded up their iPhones and iPads with a demo version of the game.

When Nintendo and Apple announced as much last week, I booked it over to the Chelsea Apple Store location to check it out.

So, what's the game like? Allow me to explain:

SEE ALSO: Watch Jimmy Fallon play the new 'Super Mario' game for iPhone before it launches next week

First and foremost: "Super Mario Run" is a traditional two-dimensional Mario game.

Remember "Super Mario Bros."? Like that.

Graphically speaking, little Mario has seen some pretty huge improvements over the past 30 years — "Super Mario Run" continues that evolution:

In the last few weeks President-elect Donald Trump has been traveling the country on a "thank you" tour, hosting rallies in areas that helped him win the presidential election.

And on Wednesday's episode of "The Daily Show," host Trevor Noah pointed out something he found in these speeches: the emergence of "Truth Trump."

"The Donald voices some political opinion and then Truth Trump slips in and tells you the real deal," Noah said.

Noah pointed out a few examples.

At a Wisconsin rally, Trump called House Speaker Paul Ryan "a fine wine — every day goes by, I get to appreciate his genius more and more." But then he quickly added, "Now if he ever goes against me I'm not going to say that."

In West Virginia, Trump said he doesn't call the system "rigged" anymore, a comment he made often during the campaign, because he won.

"I don't care," he said.

"It throws everyone off because politicians aren’t supposed to be honest about their lying," Noah said.

And then there are the "Lock her up" chants that were prevalent at Trump rallies leading up to the election, referring to Hillary Clinton. "Truth Trump" dropped a bomb on supporters when this "thank you" tour stopped in Michigan.

As the "Lock her up" chants started, Trump told the crowd, "That plays great before the election. Now we don't care."

"He’s like a magician telling everyone how he did the trick and still some people are like, 'Wow, it’s magic,'" Noah said.

Watch the complete "Daily Show" segment below:

SEE ALSO: The 25 worst movies of 2016, according to critics

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NOW WATCH: ‘The Walking Dead’ fans think they uncovered something huge in this scene from the latest episode

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Nintendo’s highly anticipated mobile game, Super Mario Run, could make the company more than $71 million in revenue within the first month of launching, according to projections by SensorTower.

Super Mario Run was first announced by Nintendo during an Apple event earlier this year, and it's the first iOS game that allows users to pre-register so they can receive a notification when the game is available. This action, as well as its prominent ad run within the App Store, should help the app achieve a substantial download rate in its first 30 days. The game will be available for iOS users across a majority of global markets on Thursday. 

Nintendo’s decision to charge users $10 for full access to the mobile game challenges conventional app monetization models. The benefit of in-app purchases (IAP) and ads are that they're less reliant on convincing users that the app is worth spending a large chunk of money, instead offering content for micro-payments.

For instance, Pokémon Go brought in roughly $143 million in revenue in its first month of launching through IAP. And while there has been no indication that users can make additional IAP for features like special maps that lead to other in-app games, it makes sense that Nintendo would supplement the one-off payment with these micro-transactions. In 2016, IAP accounted for 40% of total global app revenue, per Gartner estimates. That share will grow to 72% of all app revenue by 2020, according to BI Intelligence estimates.

In any case, the decision may come down to how Nintendo measures the success of Super Mario Run. The company may want to focus on keeping its customers within the Nintendo universe, or shift its concern to how individual apps perform. The company’s first mobile app, Miitomo, speaks to the former, acting as a Nintendo user hub where users can interact with others. Super Mario Run players who want to access multiplayer functions will need to have a Miitomo character to race against others, according to iDigitalTimes. This suggests that Nintendo could be attempting to build up its mobile gaming ecosystem as it did with the Wii.

Over the past eight years, developers have flocked to create mobile games as smartphones became a mainstream consumer device. Technological evolutions including faster processors, larger screens, more input points, and better overall graphics capabilities, combined with dropping prices, brought the ability for gaming via smartphone to audiences larger than ever before.

In that growth and through that transition, smartphones as a gaming arena experienced its own evolution. More developers flocked to this medium, and the gaming sections of app stores became saturated. While mobile gaming apps using an up-front paid downloading model, wherein consumers paid a typically nominal fee to download an app, flourished in the early days of mobile gaming, the deluge of apps led to a change in monetization strategy.

More apps started using the free-to-play (F2P) model, wherein a consumer can download an app for free, and is then later monetized either via in-app purchases or in-app advertising. Since that transition, most consumers have been conditioned to expect quality mobile gaming apps for little or no cost.

Jessica Smith, research analyst for BI Intelligence, Business Insider's premium research service, has compiled a detailed report on mobile gaming that examines how the mobile gaming market has been affected by the transition to F2P monetization.

It also takes a close look at how saturation in the mobile gaming category, combined with the standard F2P model, has led to numerous issues for developers, including spiking marketing costs, the premium on acquiring users who will spend heavily within a game (called whales), and the impact that it's having on mobile gamers who do not spend in-app. The report then identifies innovations in mobile app marketing and engagement that seek to alleviate the issues of F2P and inadequate monetization in the fact of mounting marketing costs.

Here are some key takeaways from the report:

• The mobile gaming app market is so big it makes other app categories seem small by comparison. Mobile gaming apps accounted for 20% of active apps in Apple's App Store in March 2016, according to AppsFlyer. That’s more than double the second most popular category, business apps.
• It's only going to keep growing as quality smartphones become more accessible and more consumers look to their smartphones for gaming. In the US alone, 180.4 million consumers will play games on their mobile phones in 2016, representing 56% of the population and a whopping 70% of all mobile phone users, according to estimates from eMarketer.
• This quick growth is resulting in numerous growing pains. Saturation in the market has led to the dominance of the free-to-play (F2P) monetization model, which in turn has led to sky-high marketing costs.
• As marketing costs for mobile gaming apps has skyrocketed, so has the tendency for apps to focus on the very small segment of players who spend money in-app. This has resulted in game mechanics that optimize the amount of money being spent by this small user group, which can often alienate the large swath of users who do not spend money in-app.
• There are numerous new solutions coming to market that offer developers and publishing houses a diverse selection of monetization models which combine in-app purchases with other methods.

In full, the report:

• Sizes up the current mobile gaming app market and its future growth trajectory.
• Examines the role of free-to-play (F2P) games in the greater mobile gaming ecosystem.
• Identifies the major threats and opportunities inherent in the current mobile gaming market and in peripheral markets such as marketing.
• Explains the current monetization conundrum wherein the vast majority of revenue comes abysmally small segments of mobile gamers.
• Presents new approaches and solutions that can help mobile gaming apps monetize without alienating swaths of mobile gamers.

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

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

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

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In "The Founder," Michael Keaton plays Ray Kroc, a struggling traveling salesman who goes from selling milkshake machines to becoming the mastermind behind expanding the McDonald's fast-food chain in 1954 after coming across the innovative hamburger stand created by brothers Richard and Maurice McDonald.

Taking the fast-paced kitchen and golden-arches design the brothers created, Kroc came onto the company as the person in charge of making McDonald's a franchise, and by the early 1960s he was responsible for expanding the company across the US. He ended up buying the company in 1961 in a shrewd deal for $2.7 million.

To accurately portray the origins of the McDonald's empire, "The Founder" director John Lee Hancock called on the services of two-time Oscar-nominated production designer Michael Corenblith to create the first restaurants for the movie.

Corenblith explains to Business Insider how he pulled it off.

"The Founder" is out in limited release Friday and opens nationwide January 20.

SEE ALSO: The 5 biggest winners and losers at the box office in 2016

"McDonald's No. 2 was built 50 minutes from where I live."

Corenblith began his research a month before production started. While he got his hands on training films, manuals, and reproductions of blueprints of the original restaurant designs that he got off eBay for $25, the last original McDonald's happens to be close to his home.

"It's in Downey, California, and it opened in August 1953 and has remained virtually unchanged in its exterior," Corenblith said. "So I had a working scale template."

Corenblith points out that the movie didn't have the approval or disapproval of McDonald's, so he did all of this under the radar. 

The filmmakers decided early on to create only one McDonald's set, which would stand in for all the locations.

"We took full advantage of the fact that every golden-arches franchise looked like every other golden-arches franchise," Corenblith said. "So we created the illusion that these were all individual restaurants that were popping up coast to coast when in actuality these were all clever reworkings of the exteriors of one built set."

The movie was shot in Atlanta, and Corenblith was tasked with finding a location within a 30-mile radius of its production hub.

"It becomes a needle in a haystack," Corenblith said. He took a month to find the right area. "We needed a location that was two parking lots wide and away from the airport so we're not interrupted recording sound."

Megan Mulllally has some personal insight into President-elect Donald Trump. On Wednesday's "Late Show," she recalled helping him win.

No, she wasn't talking about votes in the presidential election. Mullally and Trump were paired together when the 2005 Emmys decided to throw its own version of "American Idol" called "Emmy Idol."

That night, celebrities performed various television show theme songs and the viewers were able to vote via phone. Mullally and Trump performed the "Green Acres" theme song and the future US president really got into character.

Colbert tried to coax the actress into complimenting Trump. To which the "Will & Grace" star replied, "I'm not giving him any points. Sorry."

Apparently, Trump didn't take the competition lightly. He insisted that the pair had to come out on top of the competition.

"He wanted to win it," Mullally said. "So we won it. The next day, I was in my 'Will & Grace' dressing room and the phone rang. It was Donald Trump. And he said, 'You know what? We really needed to win that thing and we did. And you were a big part of that. Not only did we win it, we killed them. It was a landslide.'"

After Colbert congratulated her, Mullally said, "If he felt that way about 'Emmy Idol,' how do you think he felt about the presidential election?"

"He probably had to take a cold shower afterward," Colbert joked.

Mullally clearly wasn't a supporter of Trump's candidacy, although this isn't the first time she could be accused of helping him win. When the "Will & Grace" cast reunited for an election PSA, Mullally's rich, elitist character, Karen, said she was definitely voting for Trump.

Watch the interview with Colbert below:

SEE ALSO: Trevor Noah breaks down Trump's secretary of state pick and his 'friendship' with Russia

DON'T MISS: Seth Meyers takes a closer look at Trump's super-rich cabinet picks

Join the conversation about this story »

NOW WATCH: Trump's pick for secretary of state has a personal relationship with Putin that's been called a 'matter of concern'

Netflix is set to release 1,000 hours of original TV shows and movies in 2017, which means you'd have to spend an insane 41 days straight binge-watching to reach the end.

Netflix's originals range from $130 million costume dramas like "The Crown," to children's fare, to a new push into "unscripted" shows (think game shows, and so on).

Netflix wants to give you everything — except live sports, as Netflix execs have said repeatedly.

But how good is Netflix at making shows?

Netflix's big pitch has always been that it can use its data and algorithms to make better programming decisions. Basically, it knew you would like "Stranger Things" before you did, based on all the '80s nostalgia floating around in your viewing behavior.

That hasn't always worked, however.

"Marco Polo," which was supposed to help boost Netflix internationally, was recently cancelled after two seasons, and was responsible for a $200 million loss, according to The Hollywood Reporter. Research by UBS in September suggested "The Ranch," an Ashton Kutcher sitcom for Netflix, which many thought would help Netflix continue to open up the Midwest, was actually underperforming in that market. (Kutcher, for the record, said in October that it was doing well, especially in the Midwest).

That said, Netflix's original shows have already made an undeniable dent in the TV industry, both in critical claim and popular appeal. And it recently snagged two of the best drama series Golden Globe nominations (for "The Crown" and "Stranger Things"), along with six noms overall. But award shows aren't everything.

So how does Netflix generally stack up against other networks in the quality of its shows?

Streaming blog Cut Cable Today decided to take a look at which cable networks and streaming services were actively producing the best original shows (excluding kids' shows, coproductions, and reboots), based on ratings from Metacritic and Rotten Tomatoes. You can see the full methodology here.

CCT found that, on average, FX and HBO ruled the day, which puts them roughly in line with this year's Golden Globe nods. Netflix came in fourth, right behind Starz, but beat out streaming rival Amazon.

Here is the full chart of how the networks stacked up against each other:

Here are the full numbers from CCT:

1. FX: 85

2. HBO: 81

3. Starz: 79

4. Netflix: 77

5. Hulu: 77*

6. AMC: 76

7. Showtime: 75

8. Amazon: 71

9. USA: 69

* "Hulu scored 77, but this number may not be entirely accurate. About half of the company’s original shows don’t have ratings on Rotten Tomatoes or Metacritic."

Netflix CFO David Wells has said that eventually Netflix's goal is to have its content have about a 50/50 split between licensed and original work. It plans to spend $6 billion on content in 2017.

SEE ALSO: Travel app Hopper is booking $1 million in flights per day, and getting 90% of its revenue from push notifications

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NOW WATCH: The US Navy is catapulting trucks off aircraft carriers

Martin Scorsese is no stranger to exploring Christianity in his work. He's made a career of directing films about the plight of the sinner, from mobsters to a debaucherous Wall Street tycoon, and in between he made the "The Last Temptation of Christ," an examination of Jesus Christ as he struggles with various unholy desires that was widely protested by religious groups when it was released in 1988.

But no other movie shows his fascination with the Catholic faith as much as his latest, "Silence." And he has thrown out most of the trademarks he's leaned on over a 50-year career to create a fascinatingly un-Scorsese movie.

In late-1600s Japan, Jesuit priest Father Ferreira (Liam Neeson) has been captured by a man known as the Inquisitor for introducing Japanese villages to Christianity, a religion that has been forbidden in the country since the Shimabaa Rebellion. Word has finally gotten back to Portugal 10 years later that Ferreira has committed apostasy, so priests Rodrigues (Andrew Garfield) and Garrpe (Adam Driver) volunteer to find their mentor.

As in the trailer, the opening of "Silence" feels like akin to the search for Colonel Kurtz from "Apocalypse Now." But "Silence" is not that at all.

Rodriguez and Garrpe find a Japanese guide named Kichijiro (remarkably played by Yôsuke Kubozuka) who can smuggle them into the country. They then find themselves overcome by Japanese Christians who want them to lend their services (which they must do at night so as not to attract attention) and give confession.

The movie is less a journey to find a man than it is a test of Rodriguez and Garrpe's faith (along with their sanity).

The Inquisitor soon learns that the priests are in Japan, which leads to the villagers suffering. In one case, three men who would not spit on the crucifixion are tied to crosses in a body of water at low tide and find themselves battling drowning by the time high tide comes and waves crash on them. They eventually die on the crosses.

Throughout all of this, Scorsese tells the story in an extremely intimate tone. Wide shots are sparse, as is music. The performances by his actors drive the story. Garfield in particular commands the screen. With an inner monologue used throughout, his internal conflict and highs and lows open a flood of emotion from Garfield. Though Scorsese has been trying to make this movie for close to 30 years, it's hard to imagine anyone else playing the Rodriguez character.

Another triumph for the film is that Scorsese doesn't try to make it something it's not. Though this is not the first time he's made a period film, in "Silence" he doesn't try to get cute with using music outside of the era, as he did with the Peter Gabriel songs in "The Last Temptation of Christ," or dazzle us with fancy camerawork as in "Gangs of New York." Instead he keeps "Silence" solely focused on the story and it enriches the film greatly — even if it won't be for everyone.

As the Inquisitor and his men's mind games and torture increase, Garfield's performance only becomes more remarkable. Though it's tough to say he will win an Oscar for the role (as Casey Affleck in "Manchester by the Sea" is equally powerful), he should certainly receive a nomination.

Scorsese should also be recognized. At 74, the auteur has proven that he can still surprise audiences with his storytelling.

"Silence" opens in limited release December 23 and nationwide January 6.

SEE ALSO: How na award-winning documentary was allegedly blacklisted by Netflix

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NOW WATCH: 10 details you may have missed on the season finale of 'Westworld'

"You're kidding, right?" "What is wrong with you?" "Do you hate fun?" — these are just a few of the stunned responses I get when I confess I've never seen a "Star Wars" movie.

Yes, I've never seen even a few minutes of a "Star Wars" movie. I know, it's one of the most popular series of all time — a franchise that could be worth an estimated $10 billion to its parent company, Disney — spawning an industry of merchandise and becoming a pop-culture phenomenon that persists after nearly 40 years.

But it's not just "Star Wars." I've also avoided other cultural touchstones like "The Lord of the Rings" and "Harry Potter.”

As the first film in the Star Wars Anthology, "Rogue One: A Star Wars Story," is set to premiere Friday, I've had to defend my decision anew. Here's why I've never seen the galactic saga and have no intention to.

What I know

When someone mentions "Star Wars," here's what comes to mind: space, galaxies, Princess Leia's braided buns, lightsabers, and the phrase "Luke, I am your father" (which is basically the crux of an entire plot line, I've been told).

But even without seeing the movies, I'm still privy to a few longstanding references. Every year on May 4, I roll my eyes at the puns on "Star Wars" day; I'm familiar with the opening crawl; and don't worry, I know who Chewbacca is (I think).

I'm not the only one

Apparently there's a community of us. In the UK, there's a BBC radio and TV series called "I've Never Seen Star Wars" in which celebrity guests try out common things they've never done before, like eating with chopsticks or practicing yoga. It was created in 2008 by a guy who had never seen a "Star Wars" movie and decided to capitalize on that cultural oddity.

Last year, amid the chaos of the "Star Wars: The Force Awakens" reboot, a Fox News contributor acknowledged that she wasn't buying the hype around "Star Wars," joking that she'd never seen a movie because she's been "too busy liking cool things and being attractive" (which ultimately served as my model for how not to confess, especially to a group of loyal "Star Wars" fans).

The time I saved

When I asked my parents why I never watched "Star Wars" as a kid, my mom said, "I never liked science fiction," and my dad said, "I only watched the first two movies as a kid and never had a desire to watch the others." No real concrete aversions here, just a general distaste for space odysseys.

The same goes for "Harry Potter" and "Lord of the Rings." When my friends talked about the movies in high school and college, I'd have no commentary or I'd casually confess that I hadn't watched or read most of the series (I'll admit I finally cracked open the first two "Harry Potter" books this year after my kid sister urged me to read them with her).

I'd elicit stunned reactions, but within minutes the conversation would move to some other facet of cultural importance that I'd have the knowledge to contribute to. And if any of the movies came on TV while I was hanging out with friends in my dorm or apartment, I'd decide it was time to catch up on my reading or watch Netflix episodes of some other show that effectively held my attention.

And that's something of a victory in the digital age, when my social-media feeds are constantly demanding that I watch this movie or listen to that song, lest I miss out on what everyone is talking about (e.g., the current hype surrounding the new "Star Wars"). Alas, my curiosity has never proved strong enough to sit down and spend hours committed to these franchises with the potential of hours and hours of subsequent obsession.

Actually, I've spent so much time not watching "Star Wars," "Harry Potter," and "The Lord of the Rings" that I decided to calculate the hours I've saved. Between the eight "Harry Potter" movies, three "Lord of the Rings" movies and three "Hobbit" films, plus the seven "Star Wars" episodes that have premiered to date, I've saved 56 hours. That's more than two days. And if you consider that most fans have watched these movies at least twice, that's 112 hours saved.

In 56 hours, I could read two to three books, or I could watch 37 Academy Award-winning best pictures back to back. I could even hike from California's Big Sur to San Francisco with a couple of hours to nap. And in 112 hours, I could train and run a marathon. In that same amount of time, I could also climb more than halfway to Mount Everest base camp.

What am I missing?

Despite the pride I harbor from successfully avoiding the biggest box-office franchises of our time, I occasionally wonder what I'm missing.

I can't seem to shake the feeling that simply because my family and I weren't interested in the "Star Wars" story and none of my adult friends forced me into a "Star Wars" or "Harry Potter" movie marathon, I may have subjected myself to lifelong ridicule.

It at least comforts me to know that some of the films, despite sky-high profits, weren't actually that great. A Los Angeles Times article last year chronicled every one of the paper's "Star Wars" film reviews dating back to the first in 1977. It notes that while some were "frankly irresistible," others were "noticeably lacking in warmth and humor."

So as I sit among the chatter of the latest installment, a pop-cultural mainstay looming over my head, I continue to ask, Is it really worth all the hype?

SEE ALSO: 'Star Wars' spin-off 'Rogue One' definitely isn't getting a sequel, and that could be a hint

Join the conversation about this story »

NOW WATCH: 2 millennials watched the original ‘Star Wars’ for the first time

It's time to check out what will be leaving from Netflix when 2017 comes around.

In January, a handful of ESPN "30 for 30" titles will be gone, as well as classics like "The Fast and the Furious," "Coming to America," "Bring It On," and "Dazed and Confused."

Here's the full list of everything leaving Netflix in December.

We've highlighted in bold some of the titles you should check out before they disappear.

SEE ALSO: The 25 worst movies of 2016, according to critics

Leaving January 1

"30 for 30: Winning Time: Reggie Miller vs. The New York Knicks"
"30 for 30: No Crossover: The Trial of Allen Iverson"
"30 for 30: The Day the Series Stopped"
"30 for 30: Jordan Rides the Bus"
"30 for 30: Without Bias"
"30 for 30: Once Brothers"
"30 for 30: Bernie and Ernie"
"30 for 30: Requiem for the Big East"
"30 for 30: The Price of Gold"
"Alvin and the Chipmunks Meet Frankenstein"
"Alvin and the Chipmunks Meet the Wolfman"
"Angry Birds Toons" (Season 1)
"Bewitched"
"Blade 2"
"Bring It On"
"Bring It On: All or Nothing"
"Breakfast at Tiffany's"
"Coming to America"
"Columbo" (Seasons 1-7)
"Crash"
"Dazed and Confused"
"Final Destination 3"
"Flip or Flop" (Season 1)
"Fixer Upper" (Seasons 1-2)
"Ghost Town"
"Hairspray"
"Jake and the Never Land Pirates" (Seasons 1-3)
"Law & Order: Special Victims Unit: The Thirteenth Year"
"Little Black Book"
"Little Man"
"Maid in Manhattan"
"Miracle on 34th Street"
"Murder, She Wrote" (Seasons 1-12)
"Nanny McPhee"
"Property Brothers" (Seasons 4-5)
"Saved by the Bell" (Seasons 1-6)
"South Park: Bigger, Longer and Uncut"
"Stardust"
"Superstar"
"The Italian Job"
"The Painted Veil"
"Sixteen Candles"
"Saving Private Ryan"
"The Fast and the Furious: Tokyo Drift"
"The Fast and the Furious"
"The Uninvited"
"The Amityville Horror"
"The Wicker Man"
"Vanity Fair"
"You Live in What?" (Season 3)
"Zoom: Academy for Superheroes"

Leaving January 6

"The Girl Who Played with Fire"
"The Girl Who Kicked the Hornet's Nest"

Leaving January 29

"Stephen King's A Good Marriage"

Before success, there's hard work.

And sometimes, you're doing that hard work while living out of your car. It's not just for corporate interns or employees of tech giants like Google and Tesla — living out of a car (or camper, or van) has been a stepping stone for for everyone from James Cameron to Hilary Swank.

Here are seven incredible stories of the rich and famous who started out living in their cars.

Jacquelyn Smith, Natalie Walters, and Vivian Giang contributed to an earlier version of this story.

SEE ALSO: 26 weird jobs famous people had before making it big

'Jurassic World' star Chris Pratt lived out of a van in Maui, Hawaii

Pratt, aka Burt Macklin, has been turning heads with his transition from lovable funny guy Andy Dwyer on "Parks and Recreation" to action hero Owen Grady in "Jurassic World."

But that's not the only major transition the actor's gone through.

At age 19, Pratt accepted a one-way ticket to Maui, Hawaii, from a friend and set up a humble abode in a flea and mice-infested van — a setup that he told The Independent was "pretty awesome."

"We just drank and smoked weed and worked minimal hours, 15-20 hours per week, just enough to cover gas, food, and fishing supplies," Pratt said. "You know it was a charming time."

That same year, actress Rae Dawn Chong met Pratt when he was waiting tables at the Bubba Gump Shrimp Company in Maui, took note of his good looks, and cast him in her directorial debut, "Cursed Part III." (Pratt is seen holding the script in the above photo.)

"The moment she told me she was bringing me to LA, I knew," he said. "I was like, 'This is what I'm going to do with the rest of my life.'"

Director James Cameron lived out of his car before selling the rights to 'The Terminator' for $1

When Cameron was writing "The Terminator," he was "barely making ends meet, even living in his car for a time," according to IGN.

But his main concern at the time wasn't money. He was determined to direct his screenplay despite his limited experience.

When he pitched "The Terminator" at meetings, the production companies said they liked the script, but they didn't like the idea of him being in charge.

Cameron persevered and partnered with producer Gale Anne Hurd, who bought the rights to the screenplay for $1 and named Cameron the director.

The film went on to make $77 million worldwide.

Comedian Jim Carrey once lived out of a VW camper van and in a tent on his sister's front lawn

According to the biography "Jim Carrey," the comedian dropped out of high school and lived in a VW bus with his family parked in different places throughout Canada. They eventually moved into a tent on his older sister's lawn and parked the van in the driveway.

Carrey said it was during these tough financial times growing up when he developed a sense of humor.

The first "Super Mario" game for Apple's iPhone and iPad is finally here, available for $10 on the iTunes App Store. Download it here!

The game, "Super Mario Run," is a brand-new Mario adventure built with mobile gaming in mind. What that means in the case of "Super Mario Run" is that the classic two-dimensional "Super Mario" gameplay has been adapted for one-handed play — instead of requiring that players move him forward with one hand and jump with the other, Mario automatically runs from left to right.

Your job: skillfully make it through each level, jumping over Goombas and Koopa Troopas, to the flagpole at the end.

This is little Mario's first appearance on Apple's hardware. Nintendo is notoriously protective of its characters — especially the Mickey Mouse-esque Italian plumber Mario — and long resisted putting its games on smartphones.

With "Super Mario Run," all that changes.

Mario creator Shigeru Miyamoto — the man in charge of Nintendo's games division — even appeared onstage with Apple CEO Tim Cook to introduce that game alongside the unveiling of the iPhone 7 this past September.

"Super Mario Run" is the first of several mobile games from Nintendo; mobile versions of the "Animal Crossing" and "Fire Emblem" series are up next.

Nintendo is also making a major bet with "Super Mario Run" that customers are willing to pay $10 up-front for a mobile game.

There are no "microtransactions" in the game; for $10 you'll get 24 levels, a race mode, and a Kingdom Builder mode (in which you rebuild the Mushroom Kingdom, "Farmville"-style).

Not sure you want to drop 10 big ones on a mobile Mario game? Fret not: A free version of the game allows you to play the first few levels to get a feel for it.

We played that (limited) version of the game last week at an Apple store in New York — check out that video right here for even more information on "Super Mario Run":

SEE ALSO: I just played Nintendo's first 'Super Mario' game for the iPhone — it's really good!

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NOW WATCH: I just played Nintendo's first 'Super Mario' game for the iPhone — here are the best and worst things about it

The first ever "Super Mario" game for Apple's iPhone and iPad is finally here!

"Super Mario Run" is a gorgeous 2D Mario game with mobile gamers in mind — no steering Mario (he runs by himself), just jumping, all handled by one finger tapping on the screen. Simple, fun, and engaging.

There's some other stuff in there too, beyond the classic Mario gameplay you'd expect. There's a race mode, called Toad Rally, which is the classic Mario gameplay but in a competitive format. And there's a world building mode, called Kingdom Builder, which has you re-constructing the ruins of Princess Peach's castle and the surrounding countryside. 

Both of these modes are fine, but they're clearly side dishes to the main course that is World Tour — the standard 2D Mario gameplay beloved by millions around the world. In World Tour mode, there are six "worlds" with three main levels and one castle/airship.

Here's what that looks like:

Some quick math on the image above: six worlds, four levels per world. That's right — you're looking at just 24 levels of "Super Mario Run" to play. If you're wondering whether a whole new set of levels unlocks when you get through these, wonder no more: What you see here is what's in the game. There are no secret levels, no second set of 24. 

As a result, I blew through "Super Mario Run" in a few hours. 

There is, of course, a lot of replay value here. After completing a level, "Super Mario Run" challenges players to find and capture five pink coins during a given run. After you've snagged all five, a new set of five shows up in different places. After you've snagged those five, a final set of five (now bronze) coins shows up. It's only when you've collected all fifteen coins that a level is "complete." 

And that's before we start talking about playing levels as characters other than Mario:

So, yes, there's a lot to do in "Super Mario Run" beyond the seemingly meager offerings of 24 levels, but much of that stuff to do is...replay the same levels over and over, scraping them for as much fun as you can get.

It's not clear if Nintendo plans to release more levels, but for now you should know what you're getting into — your $10 will get you 24 levels that you're expected to replay many times over.

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NOW WATCH: I just played Nintendo's first 'Super Mario' game for the iPhone — here are the best and worst things about it

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Amazon Prime Video has landed in 242 countries around the globe. Current Prime members will be able to watch hundreds of shows and films produced by top networks, Hollywood studios, and Amazon itself, at no additional cost in Belgium, Canada, France, India, Italy and Spain (though notably, if unsurprisingly, not China).

In new Prime Video territories, the service will be available at $2.99 (or 2.99 euros) a month for the first six months, before increasing to its full price of $5.99 a month.

As one might expect, Prime Video comes with a degree of multilingual support. Content is available in its default English language, with French, Italian, Portuguese and Spanish subtitled and dubbed versions available for many titles. Amazon is reportedly taking a hyper-local strategyto international expansion, hiring local staff and investing in original content that caters to tastes and preferences of the home country.

Prime Video’s global launch has deep implications on the TV and streaming industry. Of course, Netflix finds itself faced against a fearsome foe. It could also quicken the demise of traditional pay-TV in emerging economies. Other subscription video on-demand (SVOD) players will have wavering hopes knowing that they now need to follow in Netflix and Amazon’s footsteps. However, looking inward at Amazon’s prospects, Prime Video buttresses the company’s growth in multiple ways:

• Prime Video is competitively priced at the start. Prime Video’s $2.99 a month charge for the first six months is substantially below Netflix's $8-$10 a month median price range. But once those six months are up, Prime Video's $5.99 pricing gets into the same range as Netflix’s least expensive subscription packages.
• Entertainment’s potential as a fourth pillar. Amazon’s three big pillars are its Amazon Web Services (AWS) cloud division, Marketplace e-commerce platform, and Prime subscription tier. Jeff Bezos, the company CEO, has stated that his company is pursuing a fourth pillar, and Prime Video could pan out to be just that.
• But Prime Video’s centrality isn’t clear yet. There’s still uncertainty around Amazon’s intent to focus on content within its overarching business strategy. The company might be aiming to build Prime Video into a profitable fourth pillar, or perhaps it sees entertainment as a loss leader to accelerate subscriptions and reinforce Prime.
• For now, Prime Video will support the core. Amazon is probably taking a wait-and-see approach on whether entertainment is a viable fourth pillar. If and until this happens, Prime Video will be serve as support for Amazon’s aforementioned core businesses, particularly to market the potency of AWS, and to drive Prime and Marketplace sales.

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

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

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

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

Here are some key points from the report:

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

In full, the report: 

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

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

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

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The good news: "Super Mario Run," the hugely anticipated debut of Nintendo's flagship plumber on the iPhone and iPad, is now available, just in time for the holidays. Better yet, it's pretty great.

The bad news: There's no way to gift "Super Mario Run" to your Mario-loving friends and family— at least not directly, confirms a Nintendo spokesperson.

That's because "Super Mario Run" starts as a free download from the iTunes App Store, which gets you a handful of levels and features. Then if you spend $9.99 as a one-time in-app purchase, you get all of the levels and everything else the game has to offer.

Since Apple's App Store currently has no way to give in-app purchases as gifts, it might ruin your plan to play Santa for the Nintendo fan in your life. 

There is one way, but it's not exactly elegant. You could buy the lucky recipient a $10 iTunes gift card, with instructions to use it for "Super Mario Run." It works, but it might come off as a little less personal than you intended.

SEE ALSO: I completed the new 'Super Mario' game for iPhone in about three hours

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NOW WATCH: I just played Nintendo's first 'Super Mario' game for the iPhone — here are the best and worst things about it

Love it or hate it, if you ask someone whether they like "Seinfeld," you're going to get an opinion.

The iconic and polarizing show ran for 180 episodes and had a profound impact on TV. But to see which episodes are the biggest fan favorites, you usually have to resort to synthesizing a ranking from the "best of" lists floating around the internet and forums.

But now Hulu has decided to give us the hard numbers. The streaming service has the show's back catalog, and tracked which episodes were the most watched from 6/1/15 to 10/31/16.

The results probably won't come as a huge surprise. They're "all classics," as my colleague Steve Kovach put it. And it's true.

Here are the top 6 Seinfeld episodes of all time, according to Hulu, along with their descriptions:

No. 6 The Yada Yada (Season 8)

Jerry doubts his dentist’s religious conversion; Kramer and Mickey fight over a double date as Elaine undermines a couple’s chances at adoption.

No. 5 The Contest (Season 4)

Jerry challenges George, Kramer and Elaine to pool their money in a contest of self-denial. Meanwhile, an excited Elaine looks forward to her data with hunky John Kennedy, Jr.

No. 4 The Marine Biologist (Season 5)

Romance starts to blossom between George and his former college classmate Diane, after Jerry falsely tells her that George is a successful marine biologist.

No. 3 The Boyfriend (Season 3)

While performing his comedy act, Jerry meets Keith Hernandez (as himself), the former New York Mets all-star and one of Jerry’s favorite baseball players. But Jerry finds himself competing for his new pal’s time with Elaine, who has caught Keith’s eye.

No. 2 The Soup Nazi (Season 7)

A demanding soup stand chef bans Elaine from eating his wares.

No. 1 The Pitch (Season 4)

Jerry and George propose to write a television series. Newman blames Kramer for his speeding ticket; Jerry and George are offered a deal at NBC.

SEE ALSO: This chart shows how good Netflix is at making shows compared to rivals like HBO

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NOW WATCH: I just played Nintendo's first 'Super Mario' game for the iPhone — here are the best and worst things about it

Good news: The first "Super Mario" game for Apple's iPhone and iPad is really, really good. 

The game is "Super Mario Run," and it's the first smartphone game starring Nintendo's ubiquitous mustachioed plumber.

It looks like classic 2D Mario, and it plays like it too.

There's one huge caveat: This isn't a Mario game about pixel-perfect jumps and deep challenge. Yes, Mario moves from left to right, and there are enemies/obstacles in the way of his progress. But you don't actually control the speed or direction of Mario's movement.

Instead, little Mario automatically runs from left to right — your one job is to tap the screen to jump. If you hold after tapping, Mario jumps a little higher. No swiping, no virtual d-pad on-screen, no Bluetooth gamepads connected to your iPhone/iPad.

Instead of worrying about moving Mario forward, you're instead concerned with stomping on enemies and carefully timing your taps to jump at just the right moment.

That doesn't mean "Super Mario Run" is easy, per se.

It's slightly easier than your average Mario game, perhaps, but there's still plenty of challenge to be found. If you've spent any time playing "Super Mario" games, you're rarely going to find yourself unable to complete a level in "Super Mario Run" solely because of enemy placement or intentionally challenging level design. 

Much of the challenge in "Super Mario Run" is in the game's "pink coins" mechanic — collect all five pink coins strewn throughout a given level, and the level moves them to five new, slightly harder to find places. Collect those, and the five pink coins become five bronze coins hidden in question mark boxes, down pits, and in the clouds. I've only found all three sets on the very first few levels, and finding the final five bronze coins was genuinely tough.

Another layer of replay value to the game's somewhat meager offering of 24 levels is the ability to play as a variety of other Mario characters. 

In "Super Mario Run," you'll start out as Super Mario, but a gaggle of his friends also appear as playable characters. Maybe you're more of a Princess Peach kinda player? Perhaps you identify most with an affable green dinosaur named Yoshi? 

Both are playable characters in "Super Mario Run," with a total of six to choose from. Since each of the characters plays slightly differently — Luigi jumps higher, Princess Peach floats in mid-air, etc. — you could replay levels to get more excitement out of them.

So, what else does "Super Mario Run" have to offer?

There are two modes that are distinct from the classic Mario gameplay of "World Tour" mode — they are "Toad Rally" and "Kingdom Builder." In the former, you race against other players to collect the most coins, stomp the most enemies, and generally play as skillfully as possible. If you do better than your opponent, you're rewarded with new followers (Toads of various types). The more followers you have, the higher your level is; the higher your level is, the larger your kingdom is.

And that last bit is important, because it determines the size of your buildable land in the "Kingdom Builder" mode. If you've ever played "Clash of Clans" or "Game of War," you're already familiar with this game mode — you build stuff using coins earned in the "World Tour" mode. This stuff ranges from decorations (mushrooms of various types) to houses for various Toads. 

But let's be clear: Both Toad Rally and Kingdom Builder are ancillary modes to the meat and potatoes of World Tour mode. Players are coming to "Super Mario Run" looking for classic Mario gameplay, and World Tour mode is where they're going to find it.

Thankfully, the two ancillary modes serve to complement World Tour.

Kingdom Builder allows you to see the progress you're making in the game beyond just completing levels; Toad Rally allows you to put your playing skills to the test against other players. Neither is fantastic by itself, but they do a good job of accenting the classic Mario gameplay of World Tour.

So, should you spend $10 on "Super Mario Run"? I think you should, yes.

There are no microtransactions, so that $10 is an "all-in" price. And for that $10, you get a solid — if somewhat limited — "Super Mario" game from the folks who created the franchise. "Super Mario Run" isn't going to make anyone's top five list of all-time Mario games, but it's certain to please returning fans and new fans alike.

Since I started this with some good news, here's some more: There's a free version of "Super Mario Run" that has the first three levels in entirety available to play. Go give it a shot and decide for yourself!

SEE ALSO: The first 'Super Mario' game for iPhone is now available — download it here

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NOW WATCH: I just played Nintendo's first 'Super Mario' game for the iPhone — here are the best and worst things about it

James Corden and Mariah Carey know how to get you in the Christmas spirit.

The two teamed up on Corden's "Late Late Show" for a very special, incredibly fun version of the popular segment "Carpool Karaoke," with them and a lot of other stars singing Carey's stone-cold Christmas classic, "All I Want for Christmas Is You."

Carey tells Corden in the car that what she wants for Christmas is for him to sing the song. He does, of course, with her helping out, but the show also cuts to various "Carpool Karaoke" guests joyously belting out the song, including Gwen Stefani, Adele, Selena Gomez, Lady Gaga, Nick Jonas, Demi Lovato, Chris Martin, and the Red Hot Chili Peppers, who might be having the most fun of all.

See if it doesn't get you in the Christmas spirit:

SEE ALSO: All the 'Star Wars' movies, ranked from worst to best

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