Netflix released another trailer for the third season of its smash-hit original series "House of Cards," and it's scary as hell.

The 30-second clip suggests the Underwoods, having officially become the first couple, may be in over their heads. The trailer's eerie mood can be largely attributed to the use of the unsettling song "Counting Bodies Like Sheep to the Rhythm of War Drums" by the band A Perfect Circle. 

The new season premieres on Netflix on Friday.

Follow BI Video: on Facebook.

Join the conversation about this story »

Eddie Redmayne won his first Oscar Sunday night for best actor thanks to his role playing famed cosmologist Stephen Hawking in the biopic, "The Theory of Everything."

Redmayne looked genuinely shocked to have beaten out favorite Michael Keaton ("Birdman").

But Redmayne's win was well deserved.

The 32-year-old "Les Misérables" and "My Week With Marilyn" actor had to spend a significant amount of time intensely preparing to play the still-alive Hawking.

Redmayne spent four months studying Hawking’s life, which he explained to Variety was "a process that required so much research, it was like writing a doctoral dissertation."

Since the role called for Redmayne to portray the now 72-year-old Hawking at different ages of his life and stages of his motor neurone disease, the actor watched every single documentary and YouTube video he could find on the man.

"I tried to read literally everything I could get my hands on," Redmayne told Variety. "It became hilarious, because I would get 40 pages in, and I was like — 'Eddie, none of these words make any sense to you.'" So the actor began to work with a physics teacher at Imperial College London who was able to explain things more simply.

Redmayne also worked with a choreographer, Alexandra Reynolds, for four hours a day.

"We put what we knew into picking up a pen, drinking, walking, existing," Reynolds told Variety, adding that she would film the young actor on an iPad and they would then study the footage.

To better understand Hawking's paralyzing motor neuron disease, Redmayne visited a neurology clinic in London every two weeks, where he spoke with over 30 patients. 

Redmayne compiled his findings on a sheet of paper he carried with him everywhere during shooting. "It was like the Magna Carta," the film’s director, James Marsh, told Variety. "It became the most important document beyond the script."

Redmayne's physical transformation became more intense when he played Hawking during the later years of his life.

Marsh said that Redmayne was "really suffering, but he never complained" when he was forced to sit in a wheelchair for hours with his legs crossed and his head tipped over, in a position that made it harder for him to breathe. 

Large prosthetic ears were used to make Redmayne appear smaller and older.

Redmayne took every detail seriously, down to his fingernails.

"I learned when he [Hawking] was 21 he decided to grow his nails as an act of defiance," Redmayne told E! Online, adding that he kept his nails long throughout filming despite "only one shot in the film where you see the nails."

Ultimately, the intense mental and physical preparations paid off for Redmayne.

After Hawking first screened the movie, he was moved to tears, reports Variety.

"After the lights came up, a nurse wiped a tear from Hawking’s eye. He called the film 'broadly true,' and even celebrated with the film’s director James Marsh and screenwriter Anthony McCarten at a bar where he sipped champagne from a teaspoon. 'He emailed us,' Marsh says, "and said there were certain points when he thought he was watching himself."

"The Theory of Everything," which was made for $15 million, has raked in over $104 million at the worldwide box office since its November release.

Read Variety's full interview with Eddie Redmayne here >

SEE ALSO: Eddie Redmayne was absolutely shocked by his first Oscar win

MORE: Here's How Jake Gyllenhaal Lost 20 Pounds For His New Movie 'Nightcrawler'

Join the conversation about this story »

NOW WATCH: The new trailer for Season 3 of 'House of Cards' is terrifying

Renowned author Stephen King writes stories that captivate millions of people around the world and earn him an estimated $17 million a year.

In his memoir, "On Writing," King shares valuable insights into how to be a better writer. And he doesn't sugarcoat it. He writes, "I can't lie and say there are no bad writers. Sorry, but there are lots of bad writers."

Don't want to be one of them? Here are 22 great pieces of advice from King's book on how to be an amazing writer:

1. Stop watching television. Instead, read as much as possible.

If you're just starting out as a writer, your television should be the first thing to go. It's "poisonous to creativity," he says. Writers need to look into themselves and turn toward the life of the imagination.

To do so, they should read as much as they can. King takes a book with him everywhere he goes, and even reads during meals. "If you want to be a writer, you must do two things above all others: read a lot and write a lot," he says. Read widely, and constantly work to refine and redefine your own work as you do so.

2. Prepare for more failure and criticism than you think you can deal with.

King compares writing fiction to crossing the Atlantic Ocean in a bathtub, because in both, "there's plenty of opportunity for self-doubt." Not only will you doubt yourself, but other people will doubt you, too. "If you write (or paint or dance or sculpt or sing, I suppose), someone will try to make you feel lousy about it, that's all," writes King.

Oftentimes, you have to continue writing even when you don't feel like it. "Stopping a piece of work just because it's hard, either emotionally or imaginatively, is a bad idea," he writes. And when you fail, King suggests that you remain positive. "Optimism is a perfectly legitimate response to failure." 

3. Don't waste time trying to please people.

According to King, rudeness should be the least of your concerns. "If you intend to write as truthfully as you can, your days as a member of polite society are numbered anyway," he writes. King used to be ashamed of what he wrote, especially after receiving angry letters accusing him of being bigoted, homophobic, murderous, and even psychopathic.

By the age of 40, he realized that every decent writer has been accused of being a waste of talent. King has definitely come to terms with it. He writes, "If you disapprove, I can only shrug my shoulders. It's what I have." You can't please all of your readers all the time, so King advises that you stop worrying. 

4. Write primarily for yourself.

You should write because it brings you happiness and fulfillment. As King says, "I did it for the pure joy of the thing. And if you can do it for joy, you can do it forever."

Writer Kurt Vonnegut provides a similar insight: "Find a subject you care about and which you in your heart feel others should care about," he says. "It is this genuine caring, not your games with language, which will be the most compelling and seductive element in your style."

5. Tackle the things that are hardest to write.

"The most important things are the hardest things to say," writes King. "They are the things you get ashamed of because words diminish your feelings." Most great pieces of writing are preceded with hours of thought. In King's mind, "Writing is refined thinking."

When tackling difficult issues, make sure you dig deeply. King says, "Stories are found things, like fossils in the ground ... Stories are relics, part of an undiscovered pre-existing world." Writers should be like archaeologists, excavating for as much of the story as they can find.

6. When writing, disconnect from the rest of the world.

Writing should be a fully intimate activity. Put your desk in the corner of the room, and eliminate all possible distractions, from phones to open windows. King advises, "Write with the door closed; rewrite with the door open."

You should maintain total privacy between you and your work. Writing a first draft is "completely raw, the sort of thing I feel free to do with the door shut — it's the story undressed, standing up in nothing but its socks and undershorts."

7. Don't be pretentious.

"One of the really bad things you can do to your writing is to dress up the vocabulary, looking for long words because you're maybe a little bit ashamed of your short ones," says King. He compares this mistake to dressing up a household pet in evening clothes — both the pet and the owner are embarrassed, because it's completely excessive.

As iconic businessman David Ogilvy writes in a memo to his employees, "Never use jargon words like reconceptualize, demassification, attitudinally, judgmentally. They are hallmarks of a pretentious ass." Furthermore, don't use symbols unless necessary. "Symbolism exists to adorn and enrich, not to create an artificial sense of profundity," writes King.

8. Avoid adverbs and long paragraphs.

As King emphasizes several times in his memoir, "the adverb is not your friend." In fact, he believes that "the road to hell is paved with adverbs" and compares them to dandelions that ruin your lawn. Adverbs are worst after "he said" and "she said" — those phrases are best left unadorned.

You should also pay attention to your paragraphs, so that they flow with the turns and rhythms of your story. "Paragraphs are almost always as important for how they look as for what they say," says King. 

9. Don't get overly caught up in grammar.

According to King, writing is primarily about seduction, not precision. "Language does not always have to wear a tie and lace-up shoes," writes King. "The object of fiction isn't grammatical correctness but to make the reader welcome and then tell a story." You should strive to make the reader forget that he or she is reading a story at all.

10. Master the art of description.

"Description begins in the writer's imagination, but should finish in the reader's," writes King. The important part isn't writing enough, but limiting how much you say. Visualize what you want your reader to experience, and then translate what you see in your mind into words on the page. You need to describe things "in a way that will cause your reader to prickle with recognition," he says.

The key to good description is clarity, both in observation and in writing. Use fresh images and simple vocabulary to avoid exhausting your reader. "In many cases when a reader puts a story aside because it 'got boring,' the boredom arose because the writer grew enchanted with his powers of description and lost sight of his priority, which is to keep the ball rolling," notes King.

11. Don't give too much background information.

"What you need to remember is that there's a difference between lecturing about what you know and using it to enrich the story," writes King. "The latter is good. The former is not." Make sure you only include details that move your story forward and that persuade your reader to continue reading.

If you need to do research, make sure it doesn't overshadow the story. Research belongs "as far in the background and the back story as you can get it," says King. You may be entranced by what you're learning, but your readers are going to care a lot more about your characters and your story.

12. Tell stories about what people actually do.

"Bad writing is more than a matter of shit syntax and faulty observation; bad writing usually arises from a stubborn refusal to tell stories about what people actually do — to face the fact, let us say, that murderers sometimes help old ladies cross the street," writes King. The people in your stories are what readers care about the most, so make sure you acknowledge all the dimensions your characters may have.

13. Take risks; don't play it safe.

First and foremost, stop using the passive voice. It's the biggest indicator of fear. "I'm convinced that fear is at the root of most bad writing," King says. Writers should throw back their shoulders, stick out their chins, and put their writing in charge. 

"Try any goddamn thing you like, no matter how boringly normal or outrageous. If it works, fine. If it doesn't, toss it," King says.

14. Realize that you don't need drugs to be a good writer.

"The idea that the creative endeavor and mind-altering substances are entwined is one of the great pop-intellectual myths of our time," says King. In his eyes, substance-abusing writers are just substance-abusers. "Any claims that the drugs and alcohol are necessary to dull a finer sensibility are just the usual self-serving bullshit."

15. Don't try to steal someone else's voice.

As King says, "You can't aim a book like a cruise missile." When you try to mimic another writer's style for any reason other than practice, you'll produce nothing but "pale imitations." This is because you can never try to replicate the way someone feels and experiences truth, especially not through a surface-level glance at vocabulary and plot.

16. Understand that writing is a form of telepathy.

"All the arts depend upon telepathy to some degree, but I believe that writing is the purest distillation," says King. An important element of writing is transference. Your job isn't to write words on the page, but rather to transfer the ideas inside your head into the heads of your readers.

"Words are just the medium through which the transfer happens," says King. In his advice on writing, Vonnegut also recommends that writers "use the time of a total stranger in such a way that he or she will not feel the time was wasted."

17. Take your writing seriously.

"You can approach the act of writing with nervousness, excitement, hopefulness, or despair," says King. "Come to it any way but lightly." If you don't want to take your writing seriously, he suggests that you close the book and do something else. 

As writer Susan Sontag says, "The story must strike a nerve — in me. My heart should start pounding when I hear the first line in my head. I start trembling at the risk."

18. Write every single day.

"Once I start work on a project, I don't stop, and I don't slow down unless I absolutely have to," says King. "If I don't write every day, the characters begin to stale off in my mind ... I begin to lose my hold on the story's plot and pace."

If you fail to write consistently, the excitement for your idea may begin to fade. When the work starts to feel like work, King describes the moment as "the smooch of death." His best advice is to just take it "one word at a time."

19. Finish your first draft in three months. 

King likes to write 10 pages a day. Over a three-month span, that amounts to around 180,000 words. "The first draft of a book — even a long one — should take no more than three months, the length of a season," he says. If you spend too long on your piece, King believes the story begins to take on an odd foreign feel.

20. When you're finished writing, take a long step back.

King suggests six weeks of "recuperation time" after you're done writing, so you can have a clear mind to spot any glaring holes in the plot or character development. He asserts that a writer's original perception of a character could be just as faulty as the reader's.

King compares the writing and revision process to nature. "When you write a book, you spend day after day scanning and identifying the trees," he writes. "When you're done, you have to step back and look at the forest." When you do find your mistakes, he says that "you are forbidden to feel depressed about them or to beat up on yourself. Screw-ups happen to the best of us."

21. Have the guts to cut.

When revising, writers often have a difficult time letting go of words they spent so much time writing. But, as King advises, "Kill your darlings, kill your darlings, even when it breaks your egocentric little scribbler's heart, kill your darlings."

Although revision is one of the most difficult parts of writing, you need to leave out the boring parts in order to move the story along. In his advice on writing, Vonnegut suggests, "If a sentence, no matter how excellent, does not illuminate your subject in some new and useful way, scratch it out."

22. Stay married, be healthy, and live a good life.

King attributes his success to two things: his physical health and his marriage. "The combination of a healthy body and a stable relationship with a self-reliant woman who takes zero shit from me or anyone else has made the continuity of my working life possible," he writes.

It's important to have a strong balance in your life, so writing doesn't consume all of it. In writer and painter Henry Miller's 11 commandments of writing, he advises, "Keep human! See people, go places, drink if you feel like it."

SEE ALSO: This Stephen King Novel Will Never Be Printed Again After It Was Tied To School Shootings

Join the conversation about this story »

NOW WATCH: What the Chinese saying 'The ugly wife is a treasure at home' actually means

Patricia Arquette took home a best supporting actress Oscar Sunday night for her role in "Boyhood."

During her acceptance speech, Arquette rallied the A-list audience (specifically Meryl Streep and Jennifer Lopez) by demanding wage equality, saying: 

To every woman who gave birth to every taxpayer and citizen of this nation, we have fought for everybody else's equal rights. It's our time to have wage equality once and for all, and equal rights for women in the United States of America.

Arquette has been vocal about the little pay she received for her years of intermittent work on director Richard Linklater's "Boyhood," the first movie to ever be shot over 12 years, filming the same actors as they aged.

Since the movie's July 11 release, it has earned over $44 million worldwide on just a $4 million production budget.

But despite the film's box office and critical success, the stars of the movie aren't necessarily raking it in.

Following her Golden Globes win, Patricia Arquette revealed that "Boyhood" was more of a passion project than a lucrative gig.

"It’s important to me as an actor to be able to make a living, but I’m going to tell you something — I paid more money to my babysitter and my dog walker than I made on 'Boyhood,' and to be in 'Boyhood!'" the actress told WENN. 

Arquette, who recently appeared on "Boardwalk Empire" and can currently be seen on "CSI," says that TV — not film — is often more lucrative.

"Television actually allows you to make a living, feed your children, send them to college. And to have the luxury to make the choices of doing what it is you think that matters," the actress told WENN.

"It blows my mind (we won) because we didn’t even know if people would even accept this movie and then to find that people were moved by the movie," Arquette continued. "Winning totally blew our minds. I’m so happy for Rick (Linklater) and so happy for the producers, because they gave $4 million dollars. They gambled on a movie with no safety net, no contracts past seven years… You could’ve ended up with nothing."

For "Boyhood," 54-year-old director Richard Linklater insisted that financier IFC Films give him part ownership of the movie's copyright.

The Hollywood Reporter explains of the rare deal:

Unlike a typical deal that offers a percentage of profits — or "points" — so a director shares in the success but has no control over the movie's future, Linklater's pact gave him a say in where and how the film is released. 

... As an owner, he can join in marketing decisions, touch each part of the revenue stream and eventually sell his stake to a library (by contrast, many directors still are paid for home video on a "royalties" basis that is much lower than theatrical gross).

While exact financial details have not been released, Linklater's ownership is apparently "substantial," his lawyer told THR in June.

But most directors don't take this kind of deal because it forces them to give up a big part of an upfront fee, which is usually estimated to be in the low-seven figures.

"And that's precisely why most directors haven't taken this route," notes THR. "They stick to Hollywood's oldest adage: Take the money and run."

SEE ALSO: Meryl Streep and Jennifer Lopez had an incredible reaction to Patricia Arquette's demand for wage equality

MORE: Charlize Theron Reportedly Negotiated A $10 Million Paycheck After Sony Hack Revealed Unequal Pay

Join the conversation about this story »

NOW WATCH: The new trailer for Season 3 of 'House of Cards' is terrifying

The outline of a landmark nuclear deal between a US-led group of countries and Iran is coming into focus.

According to the AP, Iran will be able to keep 6,500 uranium enrichment centrifuges under a final agreement. This would allow Iran to achieve one nuclear weapon's worth of uranium enrichment in between six months and a year (depending on the amount and enrichment level of low-enriched uranium the country's allowed to have hand), and to keep as many as 5,500 more centrifuges than the minimum needed to run a "demonstration cascade" that would allow Iranian scientists to maintain a basic mastery of the nuclear fuel cycle.

Even before the AP article was published on February 22, the 6,500 number had been reported in Israeli media and partly corroborated by the New York Times. But the AP includes news of a second and equally significant US concession.

The nuclear deal will apparently include a 15-year sunset, with certain restrictions on Iranian uranium enrichment lifted after 10 years and Iran permitted to keep somewhere in the neighborhood as 10,000 centrifuges at the moment the deal expires. As the AP explains, the US had initially wanted a 20-year deal going into the latest round of talks, which means that the full, as-yet unknown set of restrictions will be in place for anywhere between one quarter one half the amount of time American negotiators were aiming for.

Why are US negotiators willing to stomach this concession? While a 10-15 year sunset is far from ideal, it at least freezes the amount of uranium Iran can possess and produce for a decade or more. It would keep Iran under a strict inspection regime and give the US and its allies a long lead-time to build support for another round of sanctions if Tehran evinced plans to further develop its nuclear program or otherwise buck the international system.

There's another reason for accepting a short deal. As David Ignatius explained in a February 19th column in the Washington Post, the Israelis believe that the US is willing to accept a shorter agreement because the administration "wants to tie Iran’s hands for a decade until a new generation takes power there."

Supreme Leader Ali Khamenei has been ill recently. The Islamic Republic's founding generation is dying out, and US negotiators hope that Iran will be a much different place in 10-15 years, with a government willing to draw down the more threatening aspects of its program even after a nuclear deal has expired. It's probably also hoped that a nuclear agreement and Iran's resulting reintegration with the international mainstream may even push the country towards this more pragmatic course.

But justifications have one troubling thing in common: They both make huge assumptions about the future nature of Iran's relationship with the US and the rest of the world.

Under a short deal, the international community must re-implement sanctions if Iran decides to pocket its concessions and restart its program once the deal expires — something Tehran will be able to easily do, since the deal the AP describes would allow it to keep significant aspects of its nuclear infrastructure.

But it might be a huge leap to think that in 2030 the world will have any appetite for a second Iranian nuclear standoff, especially after economic and diplomatic ties have been fully restored for a decade or more under the preceding deal.

The current round of sanctions took substantial time and US political capital to implement. The global leaders of the future may wonder whether it's worth doing it all over again to resolve an issue that they may feel has already been settled.

A short deal might also transform Iran's nuclear calculus. When a 15 year deal expires, Tehran would  be justified in figuring that it had been able to lift the international sanctions regime while being able to keep as many as 10,000 centrifuges. With sanctions gone and much of the country's nuclear infrastructure in place, the Iranian leaders of 2030 will have little incentive to negotiate a second deal, should the US consider such a deal necessary.

The sunset clause's assumptions about the Iranian regime's future moderation may be wishful as well. The Islamic Republic has vacillated between reform and retrenchment for much of the past two decades. In 1997, the reformist Mohammad Khatami was elected Iran's president. But ten years ago, the newly-elected Mahmoud Ahmadinejad made headlines for denying the Holocaust and expounding on the importance of destroying the state of Israel.

A short deal gambles on an opaque and highly compartmentalized regime transforming itself by a specific future date. This is a strange basis for an epochal diplomatic agreement in the Middle East or any other part of the world. 

Finally, a short nuclear deal reflects a kind of short-term thinking that's disconcertingly out of keeping with the actual challenges of nuclear proliferation. This is partly a structural problem. Presidential administrations last between four and eight years. Nuclear weapons, however, may be with humanity for the rest of the species' existence, and once a country goes nuclear it seldom if ever crosses back over the threshold.

The ephemeral timetable of American political leadership at least makes it comprehensible that US political leaders wouldn't be approaching the Iranian nuclear issue on a 50-or  100-year scale. But there was a 26-year lag between the inauguration of Pakistan's nuclear program in 1972 and its first test of a nuclear weapon in 1998. North Korea attempted its first nuclear test in 2006, 12 years after signing the Agreed Framework with the US.

Determined nuclear proliferates understand that even long delays are meaningless so long as a capability is eventually established. The only countries that have lost their nuclear weapons have either destroyed or exported them voluntarily; once you've got the bomb, you've got it for good. And Iran, which has built illicit plutonium and a uranium programs while laboring under strict international sanctions, has been incredibly determined.

A 10-15 year sunset clause seems oblivious to some of the dangers of approaching the Iranian nuclear issue as a short-term matter that can be solved in a single go — rather than an question that could dog successive US administrations for decades or even centuries to come.

SEE ALSO: Iran's supreme leader is the real reason there hasn't been a nuclear deal yet

Join the conversation about this story »

NOW WATCH: 14 things you didn't know your iPhone headphones could do

Even though "The LEGO Movie" was snubbed at the Oscars this year for best animated picture, the film's infectious theme song, "Everything is Awesome," was up for best original song. 

While performing their hit, Tegan and Sara took advantage of making their appearance extra awesome.

Batman himself appeared on stage with his sidekick Questlove dressed up as the Boy Wonder, Robin.

Many on Twitter thought it would have been extra cool if Will Arnett, the actor who voiced the Caped Crusader in the animated film, was in the suit.

Well, he was!

Even better? According to "The Lego Movie" director Chris Miller, Arnett was wearing the Batman suit from "Batman Forever."

The one Val Kilmer wore.

Yeah. Everything is awesome.

Watch the full performance below:

SEE ALSO: The best photos from the Oscars

AND: Lady Gaga fans are freaking out about her amazing Oscars performance

Join the conversation about this story »

NOW WATCH: This Sports Illustrated swimsuit rookie could become the next Kate Upton

What's it like inside one of the most glamorous parties in Los Angeles, Vanity Fair's post-Oscars party?

Thanks to Snapchat's story feature, which strings a bunch of public snaps and videos together, non-attendees can peek behind the scenes.

Vanity Fair's after party was attended by athlete Serena Williams, actress Jennifer Aniston, singer Beyonce, model Karlie Kloss, and lots of other star power.

Here are some screengrabs from the night, courtesy of Snapchat:

Celebrities posed on Vanity Fair's step and repeat before heading into the party.

Lots of interviews were conducted. Here's Vin Diesel.

It was Kyle MacLachlan's birthday. McLoughlin starred in Sex and the City and Desperate Housewives. 

Here's the best actress of 2014, Julianne Moore. 

Jennifer Aniston showed up for the party too.

Here's athlete Serena Williams.

It's the heartthrob from The Fault in our Stars!Here, John Travolta was behaving and keeping his hands to himself.

Here comes best supporting actor J.K. Simmons.Unfortunately for party goers, it was pouring rain.

Inside, Beyonce parked herself on a couch and kicked up her heels.

Victoria's Secret model Karlie Kloss borrowed someone's Oscar and danced around with it.This award was just hanging out on a table. 

Unfortunately when it was time to go, some guests struggled to get through metal detectors with their awards.

Join the conversation about this story »

NOW WATCH: 14 things you didn't know your iPhone headphones could do

Mexican filmmaker Alejandro González Iñárritu swept the 2015 Academy Awards. He and his producers took home golden statues for Best Director, Best Original Screenplay, and Best Picture for his film "Birdman."

But more than a decade before his Oscar-winning turn," González Iñárritu made a 10-minute long short film for BMW's "BMW Films" advertising campaign.

In 2001, the German automaker recruited a series of big-name filmmakers — such as González Iñárritu, Ang Lee, Tony Scott, and John Woo — to make a series of short vignettes staring actor Clive Owen as "the driver," along with a slew of BMW cars. 

In González Iñárritu's contribution, "Powder Keg," a veteran war photographer named Harvey Jacobs (played by Stellan Skarsgaard) witnesses a brutal massacre by Latin American military forces. The United Nations dispatches a BMW X5 SUV, driven by Owen, to smuggle the photographer out of the country. 

As the Driver and Jacobs flee towards to the border, the photographer recounts the many horrors of war he has encountered over the course of his career while expressing deep regret over his inability to stop the atrocities. As they speak, the photographer, who was shot during the massacre, instructs the driver to give his film and dog tags to his mother.

Soon, the military is alerted and pursues the BMW. Eventually, the car does make it to border — only to be confronted by border guards. As a guard interrogates the Driver, a wounded Jacobs takes pictures. Startled by the camera, the guard points a gun at the Driver's head. 

After a few tense moments, the Driver pushes the gun away before backing the silver BMW into the army truck behind it. Gunfire rings out as the SUV flees towards the safety. 

They reach safety, but it's too late. The photographer had died. We later learn that the Jacobs' photos of the massacre earned him a posthumous Pulitzer Prize.

Overall, BMW Films' series of eight vignettes proved to be very received and remain popular on YouTube even a decade later.

See the complete film here:

SEE ALSO: Here's why you should never run from the police in Dubai

Join the conversation about this story »

NOW WATCH: 14 things you didn't know your iPhone headphones could do

After the 87th annual Academy Awards concluded Sunday night, stars did a costume change and headed to the super exclusive Vanity Fair Oscar after party in Beverly Hills.  

Editor-in-Chief Graydon Carter’s annual bash brings out the most A-list guests, who are all able to let loose and celebrate after the big show.  

This year's attendees included the night's winners like Julianne Moore and Eddie Redmayne, but Victoria's Secret and Sports Illustrated swimsuit models seemed to have the largest presence.

Model-of-the-moment Gigi Hadid arrived to the Vanity Fair Oscars after party with her boyfriend, singer Cody Simpson. She also appeared in this month's Sports Illustrated swimsuit issue.

Victoria's Secret model Karlie Kloss walked the red carpet like a pro.

8-time Sports Illustrated swimsuit model Irina Shayk left little to the imagination.

The 2015 Academy Awards on Sunday was full of moments that got viewers chatting: Lady Gaga's stunning "Sound of Music" tribute, John Travolta's being creepy, an amazing Tegan and Sara performance of "Everything Is Awesome" from "The Lego Movie," and Benedict Cumberbatch's use of a hip flask. But despite its numerous highlights, the Oscars this year were a bit of a flop in terms of hard numbers.

About 36.6 million people on average tuned in to watch the show on ABC in the US on Sunday night, down 16% from the 43.7 million people who watched the show last year, according to Nielsen figures reported by The Wall Street Journal’s CMO Today. 

Over on Twitter, the picture was even bleaker. Nielsen’s Twitter TV ratings show that just 5.9 million tweets about the Oscars were sent this year, down 47% on the 11.2 million Oscars-related tweets in 2014. 

Why the shocking performance? There are a few theories out there: There wasn’t an equivalent of a Samsung selfie (which sparked 3.3 million retweets); host Neil Patrick Harris didn't live up to Ellen DeGeneres' performance last year; and many of the nominees were not hits at the box office, unlike in 2014 when "Gravity" won seven Oscars and "12 Years a Slave" came away with best picture.

However, the show had one bright spot: Facebook. In a blog post, the social network said 86% more users posted, liked, commented, or shared Oscars-related content from the previous year. The number increased to 21 million from 11.3 million people in 2014.

In terms of posts, that number went up 129% to 58 million.

Facebook created this video to show how the conversation around the Oscars played out in real time on the social network during the ceremony.

SEE ALSO: Lego stole the night at the Oscars

Join the conversation about this story »

NOW WATCH: The new trailer for Season 3 of 'House of Cards' is terrifying

Christina Aguilera and Britney Spears are undoubtedly the bubblegum pop queens of the late 1990s, and Aguilera on Monday night showed she had the vocal chops to take over for Spears if she ever needed to.

Aguilera appeared on "The Tonight Show" on Monday night to play random musical impressions with Jimmy Fallon, and she totally nailed her impression of Spears.

Take a listen at about 1:57:

"That was something I always wanted — that was amazing," Fallon exclaimed after giving Aguilera a standing ovation. 

It almost rivals Adam Levine's Michael Jackson impression, The Huffington Post points out.

Aguilera also does a pretty mean Cher.

Join the conversation about this story »

NOW WATCH: This Sports Illustrated swimsuit rookie could become the next Kate Upton

Valve's popular gaming platform Steam will show off its own virtual reality headset at the Game Developers Conference in San Francisco next week.

Valve announced the news in a Steam blog post, promising to offer demos of a "previously unannounced SteamVR hardware system" along with the final version of its popular Steam controller and "new living devices."

Steam is bringing the best games and user-generated content to exciting new destinations. At GDC 2015, we’ll be giving demos of the refined Steam Controller, new living room devices, and a previously-unannounced SteamVR hardware system.

With the introduction of SteamVR hardware, Valve is actively seeking VR content creators. Are you a developer or publisher interested in experiencing the new SteamVR hardware? We’ll be giving scheduled VR demos during the week of GDC, March 4th-6th, 2015, at Moscone Center in San Francisco.

Steam, which is basically an app store for PC and Mac games that's bundled into a social platform, has been dabbling in virtual reality for some time now. It showed off an internal prototype of a virtual reality headset that used two Samsung Galaxy S4 displays last June at a virtual reality event in Boston — though at the time, Steam was quick to be clear that it was for testing purposes only.

Valve has since created a section of its Steam Store for virtual reality games, and the company has been a vocal supporter of Oculus VR and its highly anticipated Oculus Rift, which Facebook acquired for $2 billion last March.

While introducing its own VR headset could be seen as entering into competition with Oculus, Valve's reluctance to sell hardware in the past and its request for "VR content creators" hints that Steam is primarily concerned with getting developers interested in creating games for virtual reality.

SEE ALSO: Texting this phone number will get you 'anything you want as long as it's not illegal'

Join the conversation about this story »

Jerome Jarre moved to NYC unable to speak English and with no job prospects. After making Vines every day for about a year, Jarre garnered enough popularity that Gary Vaynerchuk gave him a deal to start a Vine advertising agency. Today he's paid over $25,000 for a sponsored Vine and $35,000 for a Snapchat video.

Produced by Devan Joseph 

Follow BI Video: On Facebook

Join the conversation about this story »

On Sunday, Eddie Redmayne took home the best actor Oscar for his role as famed cosmologist Stephen Hawking in "The Theory of Everything."

The real-life Stephen Hawking, 73, didn't attend the awards show but made it known that he approved of Redmayne's portrayal of himself:

"The Theory of Everything" focuses on Hawking's relationship with his first wife, Jane Wilde Hawking, and how the couple deal with his motor neurone disease, ALS.

Redmayne acknowledged Hawking and his family during his acceptance speech:

Thank you. I don't think I’m capable of articulating quite how I feel right now. I'm fully aware that I am a lucky, lucky man. This Oscar belongs to all of those people around the world battling ALS. It belongs to one exceptional family — Stephen, Jane and the Hawking children. I will be his custodian. I will be at his beck and call. I wait on him hand and foot.

When Hawking first saw the film about his life during a London screening last year, he was moved to tears, Variety reports:

After the lights came up, a nurse wiped a tear from Hawking's eye. He called the film 'broadly true,' and even celebrated with the film's director James Marsh and screenwriter Anthony McCarten at a bar where he sipped champagne from a teaspoon. 'He emailed us,' Marsh says, "and said there were certain points when he thought he was watching himself."

"The Theory of Everything," which was made for $15 million, has raked in over $104 million at the worldwide box office since its November release.

SEE ALSO: Eddie Redmayne had 4 months of intense training to play his Oscar-winning role as Stephen Hawking

Join the conversation about this story »

NOW WATCH: This incredible animation breaks down how Alzheimer's affects the brain over time

Nintendo's Mario series is the best-selling video game franchise in history. And with moves like Mario's, it's no mystery why so many people enjoy navigating the little Italian plumber through his fantasy world of princesses, castles, and magical mushrooms. But there's a fundamental flaw in the game: Based on what we know about our universe, Mario World physically couldn't exist.

This tiny yet surprising flaw in the game was recently discovered by the PBS video series Space Time, which used some simple math and basic physics to determine which kind of planet Mario lives on.

How does Mario jump so high?

You'll notice in the GIF below that Mario has some very impressive jumping skills:

At first you might think Mario can jump so high because he is on a planet that is smaller than Earth and, therefore, has weaker gravity.

The Moon, for example, has about one-sixth Earth's gravity, which means you can jump six times higher on the Moon than on Earth using the same leg power. But that's not the full story.

The crucial detail is not how high Mario jumps but how fast he falls.

Although you can jump six times higher on the Moon, it would take six times as long to fall back to the ground as it would on Earth. If Mario fell that slowly, it would make for some pretty boring gameplay.

Because Mario moves relatively quickly through the air, he must be on a planet that has pretty strong gravity. You can easily calculate how strong the gravity in Mario World is with two simple parameters:

• How high Mario jumps.
• How long it takes Mario to fall to the ground.

By crudely measuring these factors, Gabe from Space Time determined that in the 1990 game "Super Mario World," Mario jumps about 2 1/4 times his own height and takes approximately 0.3 seconds to fall to the ground.

After crunching the numbers, Gabe calculates that Mario is on a world whose gravity is eight times as strong as Earth's. Keep in mind that most humans can't withstand anything stronger than five times Earth's gravity before passing out.

To put this into better perspective: If you weigh 150 pounds on Earth, you would weigh 1,200 pounds on Mario's planet!

So how does Mario jump so high with all of those pounds weighing him down?

Pure leg strength, Gabe concludes. He must do a lot of dead lifts off-screen.

In fact, if Mario were on Earth, his strength would allow him to jump higher than 90 feet. To achieve that kind of height, he would have a liftoff speed of more than 50 mph!

Mario's jumping ability does slightly vary between different games, so gravity's force will also vary. But in general people have found that this value is between five and 10 times as strong as Earth's gravity — stronger than anything we experience on a daily basis. You might reach five g's when you're speeding through a 360-degree loop on a roller coaster.

Which planet is Mario's?

No planet in our solar system even comes close to the kind of gravity on Mario's many worlds. Jupiter, the largest planet orbiting our sun, has about 2 1/2 times Earth's gravity. So if you weighed 150 pounds on Earth, you would weigh 375 pounds on Jupiter. That's not even close to the gravity on Mario World.

Though Mario's planet is not in our solar system, could it be outside of it, in another star system far from Earth? Because of our search for planets outside our solar system, we know there are plenty of weird planets out there. But are they weird enough?

Through NASA's Kepler Space Telescope, humans have found more than 1,800 planets orbiting stars other than the sun, thousands of light years from Earth. Could one of them have conditions similar to those on Mario World?

First, Mario clearly lives on a rocky planet with an atmosphere similar to Earth's. But its gravity is also eight times as strong as Earth's — is such a planet possible?

Unfortunately for Mario, a planet like this doesn't seem likely to exist in our universe because of how we think large planets form. To have a lot of gravity a planet must have a lot of mass, and the planets that are even close to being large enough seem to be gas giants, like Jupiter and Saturn, with no ground to speak of.

The known planet with the strongest gravity checks in at about four g's — about half the gravity that Gabe calculated on Mario World.

So as Earth-like as Mario's world may appear on screen, there is no planet in the universe that would give us moves like Mario's.

Check out the PBS video below:

SEE ALSO: Rosetta just did an extreme maneuver to get closer than we ever have to a comet — and came back with incredible pictures

READ MORE: These high-resolution images of Chris Hadfield's view of Earth from the ISS will boggle your mind

Join the conversation about this story »

NOW WATCH: Watch This Robot Play A Perfect Game Of Beer Pong

The man who made offers others couldn't refuse once refused the movie industry's heftiest honor.

On March 5, 1973, Marlon Brando declined the Academy Award for Best Actor for his gut-wrenching performance as Vito Corleone in "The Godfather" — for a very unexpected reason.

Here's how it went down.

The Movie That Brought Brando Back

In the 1960s, Brando's career had slid into decline. His previous two movies  — the famously over-budget "One-Eyed Jacks" and "Mutiny on the Bounty" — tanked at the box office. Critics said "Mutiny" marked the end of Hollywood's golden age, and worse still, rumors of Brando's unruly behavior on set turned him into one of the least desirable actors to work with.

Brando's career needed saving. "The Godfather" was his defibrillator.

In the epic portrayal of a 1940s New York Mafia family, Brando played the patriarch, the original Don. Though the film follows his son Michael (played by Al Pacino), Vito Corleone is its spine. A ruthless, violent criminal, he loves and protects the family by any means necessary. It's the warmth of his humanity that makes him indestructible — a paradox shaped by Brando's remarkable performance.

"The Godfather" grossed nearly $135 million nationwide, and is heralded as one of the greatest films of all time. Pinned against pinnacles of the silver screen — Michael Caine, Laurence Olivier, and Peter O'Toole — Brando was favored to win Best Actor. 

Drama At The Awards Show

On the eve of the 45th Academy Awards, Brando announced that he would boycott the ceremony and send Sacheen Littlefeather in his place. A little-known actress, she was then-president of the National Native American Affirmative Image Committee.

On the evening of March 5, when Liv Ullman and Roger Moore read out the name of the Best Actor award recipient, neither presenter parted their lips in a smile. Their gaze fell on a woman in Apache dress, whose long, dark hair bobbed against her shoulders as she climbed the stairs.

Moore extended the award to Littlefeather, who waved it away with an open palm. She set a letter down on the podium, introduced herself, and said:

"I'm representing Marlon Brando this evening and he has asked me to tell you ... that he very regretfully cannot accept this very generous award. And the reasons for this being are the treatment of American Indians today by the film industry —"

The crowd booed. Littlefeather looked down and said "excuse me." Others in the audience began to clap, cheering her on. She continued only briefly, to "beg" that her appearance was not an intrusion and that they will "meet with love and generosity" in the future.

Watch the scene unfold:

Why He Did It

In 1973, Native Americans had "virtually no representation in the film industry and were primarily used as extras," Native American studies scholar Dina Gilio-Whitaker writes. "Leading roles depicting Indians in several generations of Westerns were almost always given to white actors."

But they weren't just neglected or replaced in film; they were disrespected — a realization that crippled Brando's image of the industry.

The following day, The New York Times printed the entirety of his statement— which Littlefeather was unable to read in full because of "time restraints." Brando expressed support for the American Indian Movement and referenced the ongoing situation at Wounded Knee, where a team of 200 Oglala Lakota activists had occupied a tiny South Dakota town the previous month and was currently under siege by U.S. military forces. He wrote:

"The motion picture community has been as responsible as any for degrading the Indian and making a mockery of his character, describing him as savage, hostile and evil. It's hard enough for children to grow up in this world. When Indian children ... see their race depicted as they are in films, their minds become injured in ways we can never know."

A tsunami of criticism toppled over Brando and Littlefeather following the Oscars, from peers in the industry and the media.

Still, Brando lent the Native American community a once in a lifetime opportunity to raise awareness of their fight in front of 85 million viewers, leveraging an entertainment platform for political justice in unprecedented fashion. His controversial rejection of the award (which no winner has repeated since) remains one of the most powerful moments in Oscar history.

NOW WATCH – Neil deGrasse Tyson: I Loved 'Gravity' But Here's What The Movie Got Wrong

SEE ALSO: See the full list of 2014 Oscar nominations

Join the conversation about this story »

NOW WATCH: This Sports Illustrated swimsuit rookie could become the next Kate Upton

Jason Jones and Samantha Bee, a married couple who both acted as correspondents on "The Daily Show with Jon Stewart," are leaving Comedy Central after their untitled family comedy got picked up by TBS.

Jones announced the news via Twitter on Tuesday:

The new TBS comedy, in which Jones will star, has been given a 10-episode series order.

The husband-and-wife duo will executive produce the series, with Jones starring. 

"The series, described as an honest and darkly comedic look at family, follows a couple and their two kids on a road trip to Florida," reports Variety. The show is inspired by their own family road trips.

Production is set to begin this summer, and the series is set to debut in late 2015.

The timing of the series order comes just after Jon Stewart announced his own departure from "The Daily Show" earlier this month.

Bee and Jones’ names had previously been thrown in the ring as potential replacements for Jon Stewart.

SEE ALSO: 13 possible replacements for Jon Stewart on 'The Daily Show'

Join the conversation about this story »

NOW WATCH: This Sports Illustrated swimsuit rookie could become the next Kate Upton

We already explained why the perception that the WWE is  "fake" is very misguided. It's an elaborate theatrical production that incorporates the talents of hundreds of skilled performers, producers and technicians. And there's much more to the product than meets the eye.

In the last few years, WWE Chairman Vince McMahon has relaxed his stance on maintaining "kayfabe," or the illusion that what happens in the ring is, in fact, "real." Former WWE Superstars like Steve Austin and Chris Jericho (both still on the WWE payroll) host popular podcasts where they dissect the behind-the-scenes aspects of the business.

If you pay attention, you'll pick up a unique style of lingo that comprises many conversations between people who actually work or have worked for WWE. Here are 13 terms that will enlighten you about the inner-workings behind what you see on the screen.

Produced by Graham Flanagan 

Follow BI Video: On Facebook

Join the conversation about this story »

After winning the Golden Globe for his leading role in "Birdman," Michael Keaton was the favorite Sunday night to win an Oscar for best actor.

But Keaton may have gotten a little carried away, appearing to have pulled out a notecard with his acceptance speech on it as Cate Blanchett read Eddie Redmayne's name as the winner instead.

As the camera pans to Keaton for his reaction shot, you can see him quickly put something away into his tuxedo pocket.

The Daily Mail circled the moment below.

As Eddie Redmayne takes the stage to accept his best actor award for "The Theory of Everything," Keaton can be seen putting something back into his pocket.

Here's a closer look in a Vine video that has since gone viral:

Watch the full video below and judge for yourself:

But don't feel too bad for Keaton, "Birdman" took home four awards, including best picture.

Join the conversation about this story »

NOW WATCH: This guy went from homeless to making $25,000 per Vine

On the DVD of 20th Century Fox's notorious 2003 "Daredevil" film, there is a documentary about the hero and why he's one of the best.

"Daredevil has always been the Grateful Dead of comics," director and comic-book writer Kevin Smith says. "He's always had hardcore fans who'd follow him everywhere or anywhere, but he doesn't have the breakthrough playability of the Rolling Stones or the Beatles. I think the movie will definitely break him through into the mainstream, hopefully for better and not for worse."

The movie didn't pan out. Despite earning a defensible $180 million and entertaining yours truly, it was panned by critics who called it cliché and boring. But a character this good deserves a second chance on screen, and he'll get one in April, when Disney's Marvel Television will release a new series on Netflix.

The basic concept of Daredevil, created in 1964, is interesting, even if it's a small part of what makes him great: Matt Murdock is a Manhattan attorney who also fights crime as costumed vigilante, with no powers others than extensive training and enhanced hearing, touch, smell, and taste — a not-too-distant fantasy for yuppies everywhere — and he does it all despite being blind.

"How many superheroes are known for what they can't do?" writer Frank Miller asks in the documentary. "Daredevil is blind. He can't see. That's his distinguishing feature. I fell in love."

Miller recognized in this flaw the potential for a deeper and gritter superhero story and developed it in a legendary run in the 1980s.

"This guy is perfect. He could be the perfect hard-boiled superhero. Along the way I decided he had to be a Catholic, because only a Catholic could be a vigilante and an attorney at the same time," Miller says.

The high point of this run was a 1986 arc called "Born Again," beautifully illustrated by David Mazzucchelli, that saw Murdock driven insane in a city overrun by crime.

"'With 'Born Again,' it was the first of a series of works that I've been involved with where I looked at taking the machinery of the hero apart and putting it back together in leaner form so it was more pure," Miller says. "This lawyer-vigilante thing, it's always been shaky ... and so I thought, break it down, destroy him, and then have the real deep hero emerge. What I thought was the winning idea was I got rid of the costume for a good long time, and so he wasn't wearing the tights, and you realize the hero wasn't the costume. The costume was just dressing around the hero. "After this run, Daredevil has become a showcase series for star creators to tell their own ambitious and often dark stories.

Miller returned with artist John Romita, Jr. for a complex new origin story in the 1993 "Daredevil: The Man Without Fear"; Smith and artist and future Marvel editor-in-chief Joe Quesada played off "Born Again" in the 1999 "Guardian Devil" arc; Brian Michael Bendis led one highly acclaimed run in the 2000s; Ed Brubaker led another. The current run by Mark Waid, who has made a point of telling a brighter story, has won an Eisner Award and widespread acclaim.

"The thing that you really can't get across to a non-comic book reader or the general public is what a fascinating and layered character Daredevil is, and that's based on his internal monologues that the book has usually been famous for," Smith said.

"I still to this day thing Daredevil is the best character Marvel has," said John Romita, Sr., who was an artist on the comic soon after its launch.

Will the Netflix series be any good? While there nothing inherently good about stories about Daredevil, we can hope that so rich a creative legacy inspires filmmakers to make something special. Developer Drew Goddard, a Joss Whedon protégé known for "Cabin In The Woods," is a good candidate to make it happen.

It would certainly be good for Disney if the company could extend its superhero success to smaller, riskier projects. If not, we'll always have comics.

Here's a preview for the new series, to be released on April 10:

SEE ALSO: The digital comics revolution is awesome

Join the conversation about this story »

NOW WATCH: 14 things you didn't know your iPhone headphones could do