HBO's "Silicon Valley" is satire, but that doesn't mean it can't also nail the authentic Bay Area tech experience.  

Show runner Mike Judge consults startups and tech-news sites — including Business Insider — to make sure the show is getting even the smallest details right. 

The result is a TV show that even the most jaded Silicon Valley engineers can admit reflects the wacky tech world more often than it misses.

This season of HBO's "Silicon Valley" sees the hot data-compression startup Pied Piper actually get some venture-capital funding and some swank new offices. 

With some financial stability under their feet, here's how much the main cast of "Silicon Valley" would be making in the real Silicon Valley — and how much they could make if Pied Piper ever went public or got bought for millions.

Warning: Spoilers for the third season of "Silicon Valley" below. Data for this article was taken from Payscale.

SEE ALSO: 13 ways HBO's 'Silicon Valley' nailed the real tech industry

Our hero Richard Hendricks starts as the founder and CEO Pied Piper, a small startup. Startup founders usually choose what to pay themselves — some take no salary, and reinvest that cash into the business. More commonly, founder salaries for small startups start around $50,000 a year.

In the current season, Hendricks finds himself with the new title of CTO. With that title, and Pied Piper enjoying some funding, Payscale data indicates he could be making as much as $150,000.

Donald "Jared" Dunn is Pied Piper's head of business development. That means it's his task to help Pied Piper grow, either by finding new sales opportunities or through partnerships. He'd make around $100,000 a year.

It's Cannes time again.

That is, when Hollywood's elite travel to the French Riviera for the industry's most glamorous event of the year, the Cannes Film Festival.

This year, things kicked off with the latest movie from Woody Allen, "Cafe Society," which stars Kristen Stewart, Jesse Eisenberg, and Blake Lively, among others. The premiere also put the sex-abuse allegations against Allen back in the spotlight.

The latest Jodie Foster-directed movie, "Money Monster," starring George Clooney and Julia Roberts, is also in the festival. As is the animated family movie "Trolls," with Justin Timberlake and Anna Kendrick lending their voices.

Below, see the stars as they walk the historic Cannes red carpet, and how they enjoy their time basking in the French Riviera.

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Here are Anna Kendrick and Justin Timberlake at Cannes for the premiere of "Trolls."

JT was also there for Woody Allen's new movie, "Cafe Society," which kicked off the festival.

Here's the filmmaker with his stars, Jesse Eisenberg and Kristen Stewart.

Fredrik Eklund, the star of Bravo's "Million Dollar Listing" and a leading broker in New York City, is great at sealing deals.

In his 10 years in business, Eklund has closed on more than $3.5 billion in real estate.

He was also named the No.1 real estate agent in New York City by The Real Deal in 2014. 

"For any deal to happen — especially a business transaction — the two sides need to get in a balance," Eklund advises in his book, "The Sell: The Secrets of Selling Anything to Anyone."

"My firsthand experience negotiating billions of dollars in deals has taught me what works and what doesn't," he writes.

Here are 10 tips Eklund outlines in "The Sell" on how to negotiate and seal any deal:

SEE ALSO: A financial planner outlines the 3 mindsets that dictate how you approach your money

1. Figure out the bottom line and use it to your advantage

According to Eklund, the bottom line is the "absolute worst deal you'd be willing to make" and should be an indicator of when to walk away before you invest your time and energy.

He writes:

The suggestion of walking away brings the negotiation to a screeching halt... My hope is that they will call me back or suggest another idea. If they do, my dance has paid off. If they don't, I walk from the room, leave the meeting, and consider another strategy to keep the negotiation from actually hitting the floor.

"I call it dancing close to the edge," he writes.

2. Don't give people what they want right away

"When I'm on a listing pitch, I never give my clients the price right there and then," Eklund writes. 

According to Eklund, making clients wait a few hours to get the price of a property gets them a little frustrated, making them want what he's selling even more, and puts him in control. It also accomplishes three other things. 

He writes: 

1. It has made them want it, and therefore me, my services, more.

2. It is in writing, which makes it more solid, and in our world more true, like there is nothing else really to discuss. Putting it in writing basically says, This is the price, and I'm not asking for your thoughts on it. 

And 3. Since it took so long, the impression is that there must be a lot of thought, knowledge, and research behind.

"As long as the waiting is whetting the appetite and not starving them to death, it strengthens your position," Eklund writes.

3. Negotiate in person 

People are more connected to their phones and computers than ever, making it hard to even get them to meet in person. But it will be more effective when you do. 

"A great negotiator, when needed, uses his emotions, family, heritage, spirituality, body language, fashion, sexuality, humor, and everything else in between to win, to make a deal happen," Eklund writes.

However, if the phone is your only option, Eklund highlights the importance of having an agenda, knowing what you want out of the call before making it, and using few words.  

For nearly a decade, Seth Rogen and Evan Goldberg have created some of the funniest and most profitable comedies released by major studios.

From their first script, 2007’s “Superbad,” which the two started at age 13, to the stoner comedies “Pineapple Express” and the monster hit “Neighbors” — which earned $270 million worldwide on an $18 million budget — the duo have figured out how to get movies green-lighted and do them with little studio interference.

One reason for their success actually had to do with the failure that was 2011’s big-budget comedy-action movie “The Green Hornet.” With Rogen playing the lead and cowriting the script with Goldberg, it was panned by critics and made just $228 million on a $120 million budget.

They licked their wounds and went back to what they knew best. They created the production company Point Grey Pictures — named after the school they attended in Vancouver — and have found great success and freedom writing and producing movies with modest budgets and stories that go beyond the “stoner comedy.”

As they prepare to release their first sequel, “Neighbors 2: Sorority Rising,” we talked to Rogen and Goldberg about what goes into making movies, North Korea and the Sony hack, and how a night out with Jonah Hill led to them making the upcoming R-rated animated comedy “Sausage Party.”

This interview has been edited for clarity and length.

Jason Guerrasio: How nerve-racking was it to make “Neighbors 2” and try to match the success of the original?

Evan Goldberg: I would like to pretend that it was easy, but it was kind of the hardest thing we've ever had to do.

Seth Rogen: With a movie with so many dildo jokes, we put a lot of thought into it.

Goldberg: It was really daunting because you have your laughs per minute, and then you also have the plot and the character structure, and they all need to be as good or better.

Rogen: But what made us think we could do it was really that, above everything, the characters are what people liked the most about the first movie. So it felt like we could very organically ask what happened next, basically, and kind of get into their emotional stories and get into the heads of where they would be a few years later. That really guided us through the process as much as anything.

Guerrasio: Many of the jokes are original. You don't regurgitate the ones that worked in the first one.

Goldberg: We did a few of them.

Rogen: Yeah, it's not like we didn't do an airbag-related gag. But in general we really tried to make a movie that wasn't highly referential of the first one. That the joke wasn't just like, "Well, here are the same things again."

Goldberg: I'm extremely upset when I see a comedy sequel and they are delivering the same exact thing. You want to have the feeling of the first one, but you don't want it to be literally the same thing.

Guerrasio: You sent the script to a professor of feminist studies. Why?

Rogen: Because it was written by five men. [Laughs] Pretty quickly it was evident that five guys should not be the sole creative individuals behind this, and so we wanted to get the opinions of a lot of smart girls.

Goldberg: We also had a writer's roundtable with 10 extremely talented women, and we hired two of them, Maria Blasucci and Amanda Lund [cocreators of the web series “Ghost Ghirls”], to be on set all day. It made a serious difference, and I think we can all agree that the movie just wouldn't have worked if we kept it a literal sausage party. That's our other project. [Laughs]

Guerrasio: How did they contribute?

Rogen: We were very open. We didn't pretend to understand how women act. I think that was the big part of it. It was understanding how groups of young women relate to one another and speak to one another. We just did not pretend to understand what that was like. We really looked to the actors in the movie and the writers we hired to help us understand what it would be like the first night three 18-year-olds met each other in a dorm room and hung out.

Goldberg: We made a sorority-rush video, and the first version was something we wrote. It was very funny but we slowly realized it had a lot of stuff guys would like. And from the help we got from other people, our wives, and the writers who were women, we managed to find the proper balance.

Rogen: Things like "The Fault in Our Stars" party we would have never thought of.

Goldberg: Yeah, we wrote a paintball scene at one point. Man, was that wrong.

Rogen: Sometimes what male writers do to make females seem cool or to make it seem like a feminist thing is they just write them exactly like men, and it's just wrong to pretend that a group of 18-year-old women do the exact same thing that a group of 18-year-old men do. They might do a lot of the same things, but there are also very different things that they would do. And we tried to get as much insight into that as humanly possible.

Guerrasio: Did test screenings help?

Goldberg: Yeah. The writing process was the core of it all, but in editing we learned so much and changed a lot of very large things.

Rogen: But a joke that people liked was the reframing of some of the ideas in the first movie through the women's perspective.

Guerrasio: Something like "bros before hos" not working this time.

Rogen: Exactly. But overall the testing process was very educational and luckily ended very well.

Guerrasio: The ending feels like you're putting the franchise to bed. Or do you want to do more "Neighbors" movies?

Goldberg: I'm aggressively pushing for a "Neighbors 3”–“Fast & Furious 9" mashup.

Rogen: Yeah. Where we move in next to Vin Diesel. Wait, I think they blew up his house in the last one.

Goldberg: That's why! He needs a new house, so he moves into the neighborhood because he wants to be in the safe suburbs, away from trouble. And he finds a group of young frat and sorority kids who made a coed frat-sorority.

Rogen: That street race! Oh, that's a really good idea actually.

Goldberg: We gotta go — we have to write this. [Laughs]

Guerrasio: You founded Point Grey Pictures with the idea of making movies on a smaller budget so that you would have less pressure from the studios. Was it the disappointment of doing bigger movies such as "Green Hornet" and "Guilt Trip" that led you to this model?

Rogen: Yeah. Something we realized over the years was that the more control we had, the less stressed out we were.

We realized over the years was that the more control we had, the less stressed out we were.

Because a lot of our stress came from a fear that other people were going to ruin the stuff we were working hard on. And we thought we'd be much happier if we ruined the stuff we were working hard on. So we made a company that really tried to make movies in a way that felt protected, and we felt were responsible and made in a sustainable model, which is something that we talk a lot about. Not out-pricing ourselves, not making movies with budgets that we don't think realistically we’d make back given their subject matter.

Goldberg: And we found that we operate well in a box. If you say there's $500,000 and you want to accomplish these three things but you can't, trying to solve that problem kind of creates a better product in a lot of ways.

Guerrasio: Does it all start with keeping yourselves restricted in the writing of stories?

Rogen: It doesn't.

Goldberg: We write like we've got a billion dollars and figure it out after.

Rogen: Exactly. I think you can make any movie for any amount of money if you approach it intelligently.

Goldberg: Like the movie "Chronicle" is gigantic in scope and costs less than every superhero movie — and had better superhero moments than the big ones.

Guerrasio: So how do you get to the budget that will get you to make the movie you want but keep the studio at bay?

Rogen: It depends on the cast.

Goldberg: It's complicated because if it stars Seth and another person of comparable fame that's a [budget] figure, or Seth and two other people who aren't at his level of fame, or Seth not in it and all new people, it changes the financial structure massively.

Rogen: But no matter what, we are making movies that are between $10 million and $40 million, basically. Anything more than that, there's just a level of involvement from the studio. We just never want to be their biggest problem. When we were making "The Green Hornet" we were the studio’s biggest problem, and so all they could do was focus on us. And as they were focusing on us, we realized a lot of other people were probably getting away with a lot of really cool stuff because they were busy focusing on us.

Goldberg: When making "This Is the End," I don't know what their biggest problem was, but it wasn't us.

Rogen: That was more the lesson that we learned — don't be their biggest problem. Be the thing that they aren't paying attention to while they are focusing on their biggest problem. And then be the thing that turns out really well and can maybe be their most profitable movie, which we've been several years for several studios. I'm sure it was the last thing they expected, but it's always a possibility, which is one of the reasons people make our movies.

Goldberg: And I also think when they come to set and see that there are 10 of us jammed in one half trailer —

Rogen: We are really putting it on the screen.

Guerrasio:“Neighbors” has always been reported as being budgeted about $18 million. Is that the same number for “Neighbors 2”?

Goldberg: No. The first one was one of those situations where everyone kind of took less to get it done because we all wanted to make it. This time it's a bigger movie. We still kept it very low. But I think it was around $35 million or $40 million.

Rogen: Which is still less than most movies. Again, part of our plan is to make these reasonably.

Goldberg: For “Neighbors 2,” we came to that number with the studio and we were like, "Great, that seems reasonable," but I always think when they turn the corner they're like, "Yeah!"

Guerrasio:“We got them again!”

Goldberg: Yeah. [Laughs]

Guerrasio: How often do you get notes from the studio?

Goldberg: It depends studio by studio. And we have an extremely good relationship with Universal [which released both “Neighbors” movies], and we respect them creatively — and their financial instincts. Some places you clash heads. Universal, not one of them.

Rogen: We are always willing to hear their notes. We just don't always take them. But we are very happy to have the conversation, and we like having a good relationship with them, and we try not to be confrontational in how we work. Even if their notes aren't specifically right, often it speaks to something that might not be functioning properly in the script or the movie. I think because we know at the end of the day that we can mostly do what we want, it's not stressful to listen to everyone's opinion. Sometimes they will point something out that is totally not the right thing, but it makes you realize that there is another problem.

Goldberg: Right. "Well, if he thinks that, would the audience think that?"

Guerrasio: Paul Feig [director of “Spy” and the upcoming “Ghostbusters” movie] told me once that what he does is videotapes the audience at the test screenings, so when he talks to the studio he can point out to them that he's right about a scene or a line because he can show footage of the audience laughing.

Rogen: We do that, for sure.

Goldberg: And we cross-reference them. Sometimes we will have four test screenings and we'll point out, "See, at three of them it didn't work,” then the joke's out.

Rogen: And we seek rougher and rougher audiences for our test screenings. In the past, I feel like some of our movies have been disserved by only having really good test screenings, which can happen, and it's not always representative of a good movie. Recently we haven’t told the audience what movie they are seeing. It’s finding ways to put as many roadblocks between us and a good test screening, and really be hard on the material and make sure it is all working.

Goldberg: And in our mission to find harder audiences we encountered this funny thing where there will be one guy in the theater who's like "I did not sign up for this!"

In our mission to find harder audiences, we encountered this funny thing where there will be one guy in the theater who's like, 'I did not sign up for this!'

Rogen: For the first screening of “Neighbors 2” we didn't tell the audience what they were seeing and one of our editors was sitting next to someone, and when the audience was told "You're about to see 'Neighbors 2,'" the guy next to him was like, "I don't want to see that!" That guy probably gave us the best notes.

Guerrasio: The movie you guys did that I don't understand why it didn't do better was "The Night Before." Did that test well?

Goldberg: Tested really high. It was one of our better-testing.

Rogen: The truth is, the studio never really found the way to market it incredibly effectively. It's one of those things I hear a lot, which means it wasn't marketed right. I keep hearing "That movie was really good — I didn't think I was going to like it, but I did." That means it was not presented in a good way. And I will say, the movie doesn't have as clean-cut a concept as “Neighbors” or “Sausage Party.”

Guerrasio: I think "The Night Before" is going to be a movie people go back to and appreciate five or 10 years from now.

Rogen: I hope so.

Goldberg: Jonathan Levine, the director — the whole reason he wanted to make that movie with us was he wanted to have something that will play once a year and that over time will be remembered.

Rogen: As we were making it I felt like, for me personally, it was some of the funniest stuff I had ever done. And it was actually a little disappointing that more people didn't go see it in theaters, because I was incredibly proud of it. I feel a lot of us took big swings in that movie. Michael Shannon delivers one of the funniest performances ever.

Guerrasio: How are things with you guys at Sony since the release of “The Interview”?

Rogen: Time heals all wounds. A lot of the same people who were there before are still there. There are some new people there as well, and we've tried very hard to develop good relationships with them.

Goldberg: We were all in a similar boat and went through a lot of similar things.

Rogen: But we have more movies with them, and I think, honestly, “Sausage Party,” thus far, is going incredibly well, and we really are on the same page and they seem to be very excited about its potential. They really seem like they are going to get behind it.

Guerrasio: But during that time you guys must have been walking around the Sony lot and getting dirty looks.

Rogen: Oh yeah, lots of people. [Laughs]

Goldberg: That was just for two weeks, though.

Rogen: That ended eventually. But every once in a while people are still surprised to see us there.

Goldberg: But it's not like, "What are you doing here?" It's like, "Huh, you're still here?"

Guerrasio: This is the crazy thing about what happened with "The Interview." "Neighbors 2" focuses on women empowerment, a popular topic partly because Jennifer Lawrence spoke out about getting paid less than her male costars, which she found through the Sony hack. So if anything, you guys should be proud for pushing forward the conversation of the gender pay gap in Hollywood.

Rogen: If it wasn't for us no one would know. [Laughs]

Goldberg: That's why we made all those things happen.

Rogen: We made that movie in hopes of empowering women. It finally paid off.

Guerrasio: Today, do you guys still wonder if North Korea really did the hacking?

Rogen: Yeah.

Rogen: We debate about it a lot.

Guerrasio: Seriously?

Goldberg: Oh yeah.

Rogen: It was f---ing crazy.

Goldberg: Every now and then we look at each other and one of us will say, "Remember that?"

Rogen: And we still work with a lot of the same people. We're making a movie with Amy Pascal [the former head of Sony, who stepped down after the hack]. We're in the same places a lot. We're dealing with the same marketing people. It's impossible not to bring it up. And we still debate whether or not it was North Korea.

We still debate whether or not it was North Korea.

What do you think?

Guerrasio: I don't know. Someone must have thought it was someone nefarious because you guys had security around you at the time.

Rogen: We did.

Goldberg: I feel that was an insurance issue, who knows.

Guerrasio: Did that experience change how you guys write? Did it make you gun-shy?

Goldberg: No.

Rogen: No. I would probably maybe not make a thing about North Korea again. We played that card, and all I can say is, touché.

Guerrasio: Is it true you came up with the idea for your next movie, “Sausage Party,” while smoking weed with Jonah Hill?

Rogen: Yeah. It actually came from me and Jonah and my wife having dinner together. We started talking about what it would be like if we made a Pixar-style movie about food and how f---ed up that would be and how potentially hilarious it would be. And that was almost 10 years ago, and we've been tirelessly trying to make it ever since then.

Guerrasio: What were the roadblocks? I'd assume a lot of that time was getting an education on how to make an animated movie.

Goldberg: Oh yeah. Long, complicated education.

Rogen: But it was mostly just trying to get someone to make it. It's truly f---ing crazy and when there’s less precedent for something the harder it is to get it made. There's literally never been an R-rated computer-generated animated movie, so it made it really hard to get someone to agree to make it because we couldn't point to anything to show them that it wasn't a terrible idea. Which to us was why it was a good idea.

Goldberg: And it was a lot like “Superbad” where we would go in, pitch it, people would go, "Oh God, that's so funny." Laugh the whole pitch. And then be like, "No, we can't do that."

Rogen: Yeah, it was a lot like “Superbad.” I remember one studio head — who I won't name — literally was crying with laughter, in hysterics with laughter. And I remember thinking, "Oh my God, of course they are going to do it!” I had never seen someone react like that. And then they were even like, "We just can't do it." It took [producer] Megan Ellison to come along and cofinance the movie and Amy Pascal, who at the time was the head of Sony, agreed to make it, and we took the money and ran.

Guerrasio: Because it's animated, is it more money than you usually work with?

Rogen: No. We found a way to do it for a more responsible price than most animated movies. It's just being finished now, and as it finally comes together it's unbelievably gratifying. I don't know how the world is going to react to it, but I know we made a movie that we ourselves are incredibly entertained by.

Guerrasio: What was the biggest takeaway from showing it as a work-in-progress at South by Southwest? Have you done any tweaks since then?

Rogen: We did do some tweaks. But we really listened to the laughs. There were some jokes that for sure overstayed their welcome, and there were some themes that weren't landing as well as we were hoping they would. It's a movie we haven't been able to screen a lot because of the animation process, so we kind of treated it like a test screening. We changed the ending a little bit. It was actually incredible for us.

Guerrasio: Looking back, if "Green Hornet" did amazing — which probably means, Seth, you'd still be making sequels for it to this day — would you have been able to make these movies you came up with? Was it good that "Hornet" bombed?

Rogen: You know, I have never thought of that. Ever.

Goldberg: That never occurred to me.

Rogen: You're probably right.

Goldberg: I feel like people get one movie between each franchise.

Rogen: Yeah, we wouldn't have been able to make as many movies, which I don't know if anyone would be complaining about that.

Goldberg: "The Green Hornet" was just the greatest education possible in the history of the world for us.

Rogen: I don't think it's a coincidence that after "The Green Hornet" is when we started producing, writing, and directing way more movies that, to some degree, have a larger rate of success. It taught us so much about every element of filmmaking on the biggest scale you could imagine. We took those lessons back to how we make movies on a much smaller scale. We were able to direct "This Is the End" because of what we learned on "The Green Hornet." I think we were able to produce "50/50" and all the other movies we've produced since because of what happened on "The Green Hornet."

Goldberg: The movie was like, 89 shooting days, so on day 60 you just turn to the cinematographer and are like, "How does that camera work?"

Rogen: Yeah, you just start learning about things you see. Action sequences put together on the biggest scale. You see how visual effects work. We literally, out of everyone we knew who were working in movies, had an in-depth course on giant-budget filmmaking at a very early time in our careers, relatively speaking. We use those lessons to this day. And we met Neal Moritz, so we wouldn't be doing “Preacher” if it wasn't for that movie, which is also weird to think about. [“Preacher” is an AMC TV series based on the popular comic that Rogen, Goldberg, and Moritz are executive producers on.]

Guerrasio: Is “Preacher” your way of redeeming yourselves in doing the comics you wanted to adapt back in “The Green Hornet” days?

Rogen: Yeah. That was a comic property we loved and truly —

Goldberg: We're going to do it our way.

Rogen: We're going to maximize the potential while using our strengths as people who make movies. We tried to do that with "The Green Hornet" and due to the process and due to our inexperience, it just did not go that way. But with “Preacher,” for many reasons, it's playing much more to our strengths. I think us in combination with [cocreator] Sam Catlin have done a much better job reimagining the material in a way that is better for audiences.

Guerrasio: Is the Tom Cruise gag still in the pilot episode?

Rogen: Yeah, of course.

Goldberg: Oh hell yeah.

Guerrasio: In the movies you want to make, why are the studios still important? I'm sure you could easily pull an Adam Sandler and sign a four-picture deal with Netflix, where you’d have even less interference.

Rogen: We are not against working with Netflix in any capacity, honestly, but we just think the best way to see a comedy is in a theater full of people.

Goldberg: I went to see “Deadpool” alone when it came out, and it was a revelatory experience because me and 400 people were all on the same wavelength and doing the same thing and it's just not the same at home.

Rogen: I saw “Hateful Eight” in a theater and it was just so much fun.

Goldberg: That's funny. I was on a flight yesterday and I was going to watch “Hateful Eight” and I was just looking at the little screen, and I was just like, not going to do it.

Rogen: I think it's the opposite of what people like George Lucas and Steven Spielberg say — the only movie that's worth going to see in a theater is a big-budget visual-effects movie. You can see that at home and sit 3 feet away from your giant television that most people have and get a very similar experience. What you can't replicate at home is the shared group experience of being with 300 other people as you all are laughing hysterically or looking at each other marveling that what you are seeing was even allowed to be turned into a movie.

Goldberg: Without those moments, humanity will fall apart.

Rogen: Exactly. It's the most important thing you should be doing. [Laughs]

Join the conversation about this story »

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With the opening of "Captain America: Civil War" over the weekend becoming the fifth-largest of all time at the box office, the adaptation of Marvel comic-book characters continues to be a profitable endeavor for Hollywood.

While most of that success comes from Marvel Studios at Disney, which holds the rights to "The Avengers" — among others — 20th Century Fox has found a huge box office with the release of its "X-Men" and standalone "Wolverine" movies, not to mention proving this year that even an outlandish character like Deadpool can make blockbuster money.

And though Sony is rebooting Spider-Man with the help of Disney's Marvel Cinematic Universe, the studio once upon a time did very well with the character, and hopes to do so again.

Looking forward, all of those studios have numerous anticipated releases coming soon that adapt Marvel properties.

Here's the rundown of all the Marvel movies coming out from now through 2019:

SEE ALSO: Disney announced all its movies coming in the next 4 years — here's what you have to look forward to

"X-Men: Apocalypse" introduces us to the franchise's most chilling villain yet.

Apocalypse (Oscar Isaac) is considered the first mutant, and is immortal.

We'll see how the X-Men handle him when the film opens on May 27.

Netflix made binge-watching a phenomenon, and it has become a big part of our lives.

According to consulting firm Deloitte, 70% of US consumers now “binge-watch” TV (that is, watch more than one episode of a show back-to-back). And Netflix is perfectly set up to facilitate that, especially now that it arguably makes better shows than HBO.

But just how much Netflix do we watch now?

Streaming data site CordCutting.com came up with a nifty way to estimate it. In January, Netflix CEO Reed Hastings announced that Netflix subscribers were streaming 125 million hours per day. Later that month, Netflix passed the 75 million subscriber mark. If we assume that the amount streamed per subscriber hasn’t changed much since then, Netflix subscribers stream about 1 ⅔ hours of Netflix per day.

Let’s put that into a little perspective.

The Bureau of Labor Statistics tracks how Americans spend their time, and it turns out we spend 38 minutes a day “socializing and communicating,” basically hanging with our friends; 17 minutes participating in sports, exercise, and recreation; and 19 minutes reading.

Netflix subscribers watch Netflix 100 minutes a day, more than all three of those activities combined.

One caveat: these are two separate data sets looking at different groups of people. But if we assume that Netflix subscribers aren’t drastically different from the average American in their social lives, fitness, or reading time, the comparison roughly holds up.

Here’s a chart put together by CordCutting.com:

SEE ALSO: The hidden reason why children's shows could be a huge hit for Netflix and Amazon

Join the conversation about this story »

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Now that Donald Trump is the presumptive Republican presidential nominee, the focus has moved to whom he'll pick as his running mate.

On this weekend's "Saturday Night Live," alum Darrell Hammond returned as Trump to go through the many possible choices.

But first, "SNL" took a moment to acknowledge the latest scandal surrounding the real-estate mogul.

A reporter alleged that Trump acted as his own publicist in a conversation that took place in 1991. So as the sketch opens, we hear Trump speaking on the phone.

"No, it's true, I'm telling you Mr. Trump was the real-life inspiration for 'Iron Man,'" he says. "Who am I? I'm his publicist, Joey Pepperoni. No, I'm not Donald Trump in disguise. This is just what classy people sound like, OK?"

The phone call is then interrupted by daughter Ivana Trump (played by Vanessa Bayer), who tells him that Chris Christie (Bobby Moynihan) has been waiting for two hours to speak with Trump about potential vice presidents.

Trump tells Christie, "I need someone experienced, loyal, strong ..."

"That sounds like someone I know," Christie says, then tries to change his voice, "It sounds like Chris Christie ... Wait, who said that? Did you hear that? Where'd that come from?"

The two proceeded to go down a laundry list of potential running mates. They consider Jeb Bush, Carly Fiorina, and Marco Rubio. Christie once again tries to throw his name in, but no go. So they look outside the box. 

"I feel very strongly about it, hear me out. Bruce Springsteen!" Christie suggests. "Come on, he's 'The Boss.' You're the boss. He was born to run."

Trump replies, "He's a Democrat."

"He's a god!" Christie yells.

There's also a long list of Republicans that they consider, but won't do it: John Kasich, Nikki Haley, Ted Cruz, Paul Ryan, and Lindsey Graham.

"It doesn't make any sense. Why doesn't anyone want to be my VP?!" Trump complains.

"If I may be so bold, sir, I think anyone who didn't want to be your VP would be a damn fool," Christie replies. "You're such a special candidate. Maybe, just maybe, the person you've been looking for this whole time is standing in this room right now."

"You're so right," Trump says. "Ben Carson, do you want to be vice president?"

Carson (Jay Pharoah) then enters. "Oh, that would be hella exciting," he says.

Watch the sketch below:

SEE ALSO: A comedian has a book explaining Donald Trump to children, and it's 'cutting'

DON'T MISS: The Church Lady returns to 'Saturday Night Live' to ridicule Ted Cruz and Donald Trump

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NOW WATCH: Watch Christie beg to be Trump’s vice president on 'Saturday Night Live'

So what does it mean to live like Drizzy?

Well, the Toronto native more commonly known as Drake spends much of his time these days in his home in Hidden Hills, California, a gated neighborhood next to Calabasas.

The area near Los Angeles has been home to Kanye West, the Kardashian clan, Justin Bieber, and plenty of other rich and/or very famous folks.

But there's something unique about Drake's mansion, which he bought for $7.7 million from Saddle Ranch owner Larry Pollack in mid-2012, Curbed reports.

It has one of the most luxurious pools in the world. With its own grottos, it was designed to outdo Hugh Hefner's notorious Playboy Mansion pool, Drake said in an interview.

He's apparently somewhat obsessed with pools, as he name-checked his own in a recent song to say it was bigger than Kanye's.

As Drake's newest album, "Views," scores the artist's first No. 1 song, take a look inside the rapper/singer's Hidden Hills paradise.

Note: Photos come from the real-estate site where the house was listed before Drake bought it, so it's missing the artist's customizations.

SEE ALSO: Inside Prince's massive $10 million mansion where he was found dead

This aerial shot gives you a sense of the enormous size of the house ... and especially of that pool.

But the front is friendly and not ostentatious.

There are beautiful wooden beams running throughout the house.

In a turnout that surprised no one, "Captain America: Civil War" repeated for a second weekend as box office champ, earning an estimated $72.5 million, according to Exhibitor Relations.

That put the movie over the $300 million mark for its total domestic box office. It is nearing a $1 billion total worldwide after taking in $84.2 million overseas this weekend. (It's total worldwide box office is $940.8 million.)

And also passing the $800 million worldwide total this weekend is another Disney title, "The Jungle Book."

The film came in second place at the domestic box office with an estimated $17.7 million. ($828 million global gross to date.)

Disney is certainly having one heck of a year at the box office.

If you're keeping count, a Disney movie has now been number one at the US box office for the last five weeks.

In third place is the the biggest new release this weekend, "Money Monster," starring George Clooney and Julia Roberts, which took in $15 million. A number the film's studio Sony can be happy with. Though the movie has big-name stars like Clooney and Roberts, throwing a dramatic movie like this into the summer movie season that caters more to the over-30 crowd (who notoriously don't go to the movies on opening weekend), they have to be happy it earned this much on its first weekend.

Next weekend will be the first major challenge for "Civil War" as three very different titles will be going after moviegoers.

There's "Neighbors 2: Sorority Rising," which will certainly be a draw for the twentysomething demo that has been going to "Civil War." "The Angry Birds Movie" will attract the teen demo. And "The Nice Guys," starring Russell Crowe and Ryan Gosling, will draw the thirty and over crowd. 

We'll see if Cap can take down the competition for a third straight week. 

SEE ALSO: Michael Ian Black told us who are 4 of the best comedians right now

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NOW WATCH: 'Hamilton' just won a Pulitzer Prize — watch Obama's private performance from the show 6 years before it hit Broadway

"Saturday Night Live" tackled Trump's vice presidential vetting process. Trump has narrowed his list to 5-6 candidates. 

Produced by Devan Joseph 

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Led Zeppelin — and specifically guitarist Jimmy Page and singer Robert Plant — is defending itself against charges that it pinched the opening from its 1971 epic "Stairway to Heaven" from "Taurus" by the band Spirit.

Page and Plant are currently being sued by the estate of Spirit guitarist Randy Wolfe, and if you want the details, read Business Insider's James Cook's post on the legal ins and outs of the case, which is going to trial in Los Angeles — ironically, home to some of the most over-the-top legends from Zep's heyday.

"This isn't the first time that Led Zeppelin have been involved with alleged copyright infringement," Cook reported. "The band previously settledwith Jake Holmes over 'Dazed and Confused,' Anne Bredon over 'Babe, I'm Gonna Leave You,' Howlin' Wolf over 'How Many More Times' and 'The Lemon Song,' and Willie Dixon over 'Whole Lotta Love' and 'Bring It on Home.'"

I grew up hearing "Stairway" — from the band's fourth album — something like six times a day on the radio (I'm not kidding), so over time it began to become the musical equivalent of the wind in the trees.

But I started listening to it again recently, and I agree with Page's assessment that it's Led Zeppelin's most well-thought-out piece of music — a synthesis of hard rock, folk, English classical music, and medieval music.

It also contains Page's most disciplined and carefully considered solo, which might be why everyone has it committed to memory, but no one has been all that influenced by it — Page's wilder, looser work inspires imitation, while "Stairway" just inspires awe, not least because it occurs in the context of such a sprawling composition with pretty much all the light and shade, as Page might put it, a person could ask for.

However, during the course of getting reacquainted with "Stairway," I also relistened to the rest of the Zep catalog, and I realized that although "Stairway" is supposed to be Zep's masterpiece, it's so finely constructed that it doesn't sound quite as epic as it used to — for me, anyway.

Here are three Led Zeppelin songs that outdo it.

"Kashmir"

After the first four albums, Zep entered what I like to think of its second phase, which would run from "Houses of the Holy" in 1973 to "In Through the Our Door" in 1979. (That band broke up after drummer John Bonham's death in 1980.)

"Kashmir" was on "Physical Graffiti," released in 1975, on the eve of the punk explosion. I've always thought of it as Zep's answer to Pink Floyd: A sprawling, booming, relentless piece of high, hard-rock meditation — the thinking man's Zepic. And naturally, this is the song that got all the music critics to take Zep seriously for the first time. The band had always been interested in what we now call "world music," and "Kashmir" showed off all those influences.

Whereas "Stairway" is composed in movements, with classically delineated sections, "Kashmir" is a swirling, purposeful, slamming drone, with Page, Plant, Bonham, and bassist/keyboardist John Paul Jones all integrated from the start. Page always saw Zep as alchemical: Four elements making a fifth. "Kashmir" is Element Five.

"Achilles Last Stand"

If "Kashmir" is middle late-Zep, then 1976's "Presence" is late-late-Zep. Everything is starting to go wrong in the band's world: car accidents, chaotic American tours, sex and drugs and rock 'n' roll. Page is definitely picking up on a big change sweeping through music, as the heavy blues-rock idea that he raised to unforeseen levels with Led Zeppelin has become monumental to a fault, inspiring raw new musicians to attack what we now label classic rock's pretense and excess.

So he puts everything he has into "Achilles Last Stand," the title of which now seems deeply ironic. The band is in a flagrantly powerful mode throughout the song's ten and half minutes: Page layered something like 12 guitar parts. It's hard to tell if Bonham had a drum kit left when it was all over, Plant sings like a possessed ancient warrior, and Jones holds it all together as it frequently threatens to fly apart. This is Zep at its late, great peak.

"The Song Remains the Same"

From Zep's 1973 album, "Houses of the Holy" (the start of late-Zeppelin), this is without a doubt the band's happiest song: A rollicking ode to hard rockin' joy (more so than even "Rock and Roll" from 1971, which, while a hoot, sounds like the band's thank-you to the American musicians they loved when they were kids). It's also the other song that Page played live on the iconic red Gibson double-neck that is known so well for live versions of "Stairway to Heaven." And the track title is the name of a film about Zep, released in 1976.

Say what you will about Zep and their sound, their attitude, the legacy — there's no question those guys adored music, and that love is all distilled in "The Song Remains the Same," which would fit right into the current upbeat pop landscape. Appropriate, given the idea that music is at heart timeless. There are two great live taped performances of the song: In 1973 at Madison Square Garden in New York, and in 2007 at London's O2 Arena. Separated by 34 years, you can see in either case a group that really, really loves to cut loose and play this tune for all it's worth.

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The summer movie season came out of the gate strong with the huge opening weekend for "Captain America: Civil War," the 5th biggest of all time.

Now the question is: Will any title catch up to it, or will the Avengers leave everyone else in the dust?

As more titles being to screen for press, we're getting a better sense of the movies that will dominate the summer.

In our latest ranking, we've compiled critical and fan reaction, plus available box office and projections, to figure out which movies are winning over audiences.

Read all summer movie power rankings.

SEE ALSO: 41 movies you have to see this summer

10. "The Shallows" (June 29)

On paper the movie sounds like a cousin of the campy "Sharknado" franchise, but Sony may have a hit on its hands if the trailer is any indication (which, by the way, has over 4 million views). 

Starring Blake Lively as a surfer in a beautiful, secluded cove who's suddenly attacked by a great white shark 200 yards from shore, the movie then follows her battle with the beast.

When the trailer hit the web May 4, it instantly became a trending topic on social media. 

It has the buzz. We'll see when it's released if there's a payoff.

Last Ranking: New This Week

9. “Ghostbusters” (July 15)

It looks like it's going to be an uphill climb for the "Ghostbusters" reboot leading up to its release. Just as initial bad reception to its trailer was fading, ScreenCrush ran a story saying that it's now the most disliked trailer ever on YouTube.

Just as a good trailer doesn't necessarily mean a good movie, the same goes for a bad trailer. But "Ghostbusters" isn't going to catch a break.

All that noise will be muted, though, if it turns out critics love the movie when they see it.

Last Ranking: 7th

8. “X-Men: Apocalypse” (May 27)

Depending on who you read, "X-Men: Apocalypse" is either an ambitious superhero movie that sets itself apart from the Marvel heap, or it's a big disappointment.

20th Century Fox's plan to take some of the wind out of the sails of "Civil War" by lifting the review embargo on "Apocalypse" right after the Marvel hit opened might have backfired. With only a 47% on Rotten Tomatoes, "Apocalypse" looks like another superhero movie that can't live up to the supremacy of Disney's releases in the genre.

We'll see if things improve in the next few weeks.

Last Ranking: 5th 

Warning: spoilers ahead for Sunday's episode of "Game of Thrones."

HBO's "Game of Thrones" gave fans a lot to talk about during Sunday's episode, titled "Oathbreaker."

All eyes were on Jon Snow (Kit Harington) as this episode followed the moment he woke from death on the previous episode. Though clearly reeling from the experience, Jon Snow had some unfinished business to attend to.

But there were other big returns on "Oathbreaker" that generated a lot of talk.

Social-media monitoring platform Brandwatch found more than 70,000 "Thrones"-related mentions on Twitter during the one-hour episode and identified the moments when conversation peaked.

Here are the five most talked-about moments from the latest "Game of Thrones" episode:

SEE ALSO: 5 important things you probably missed on this week's 'Game of Thrones'

DON'T MISS: 'Game of Thrones' star teases her character's future: 'She's not the old Melisandre yet'

5. The Tower of Joy flashback. Bran Stark (Isaac Hempsted-Wright) sees his father, Ned (Robert Amarayo), turn to run into the legendary tower as someone wails inside.

9:23 p.m. ET - Nearly 1,300 mentions.

4. The return of Rickon Stark (Art Parkinson). After two seasons away, the young Stark is back, but being traded to the villainous Ramsay Bolton (Iwan Rheon).

9:50 p.m. ET - Nearly 1,500 mentions.

3. Let's get this show on the road! Fans rejoiced as the episode began.

9:04 p.m. ET - Nearly 1,700 mentions.

Kristen Stewart is setting the record straight on her absence from the prequel for "Snow White and the Huntsman."

Although the first movie made $400 million internationally, Stewart didn't appear in the prequel "The Huntsman: Winter's Warrior." 

There were some reports that Stewart's personal relationship with "Huntsman" director Rupert Sanders and the accompanying tabloid coverage caused her to be fired from the prequel. But Stewart maintains that isn't true.

In fact, it was just a matter of business.

“It wasn’t a situation where I got kicked off a movie because I got in trouble,” Stewart told Variety in this week's cover story. “We had been in talks months after that about making something work, and it never came together.”

Stewart said she took part in discussions for the sequel and even "read a few scripts." 

"None of them were good," she explained. "None of them were greenlight-able. And I had a meeting with Universal about the places where the story could go. Maybe, Chris [Hemsworth] was more into it. I actually don't f---ing know."

Stewart told the magazine she was blindsided by the news of the prequel in a press release.

“I was like, 'OK, cool.' We hadn’t spoken in a long time, but I didn’t know we had broken up,” she said of the movie's producer Universal Pictures.

Later, Stewart said she passed on an offer to cameo in the prequel. Universal declined to comment to Variety.

Released on April 22, "The Huntsman: Winter's War" stars Stewart's former castmates Chris Hemsworth and Charlize Theron. Emily Blunt joined as Theron's character's sister. The movie is currently trailing behind the previous one's box office with $146 million internationally to date, according to Box Office Mojo, on a $115 million budget, and it has a 16% fresh rating on Rotten Tomatoes.

SEE ALSO: HBO is aggressively ramping up its war on people who illegally download 'Game of Thrones'

DON'T MISS: Kristen Bell says she's suffered anxiety and depression for years: 'I fight it all the time'

Join the conversation about this story »

NOW WATCH: 4 important things you probably missed on this week's 'Game of Thrones'

Yes, there isn't a moment to breathe between the ending of the spring television season and the beginning of the summer one. Welcome to year-round programming!

Summer used to be a time when fans could catch up on shows they missed via reruns, but we have streaming-TV services for that.

It also used to be a time when networks aired shows that wouldn't have a chance during the proper fall/spring schedules, but now summer shows like USA's "Mr. Robot" are getting Emmys.

From the premiere of "BrainDead" to the return of "Wayward Pines," these are the coolest picks for those hot months.

Here are the 22 new and returning summer shows we're most excited about:

SEE ALSO: RANKED: The 20 worst TV shows of 2016 so far, according to critics

DON'T MISS: Here are your favorite TV shows that are getting renewed for another season

"Chelsea" (Netflix), streams new episodes on Wednesdays, Thursdays, and Fridays

Netflix has said that these 30-minute episodes will mirror the documentary series Chelsea Handler did last year. We loved those documentaries and Handler always surprises us with her hilarious, pointed takes on the world.

"Preacher" (AMC), premieres Sunday, May 22 at 10 p.m.

From executive producers Seth Rogen, Evan Goldberg, and Sam Catlin, "Preacher" sounds like a hell of a good time. It's creating word of mouth with positive early reviews. Going from serious to campy at any moment, the show follows a deeply troubled preacher who finds himself taken over by something really powerful and ends up surrounded by some truly heavenly, hellish, and everywhere-in-between characters.

"Wayward Pines" season 2 (Fox), premieres Wednesday, May 25 at 9 p.m.

M. Night Shyamalan has burned us enough with his movies, so we prepared ourselves for ultimate annoyance with "Wayward Pines" during its first season. To our surprise, the series was a fun ride through a social experiment that didn't make you feel ridiculous for watching. We're absolutely looking forward to its continuation, this time with Jason Patric in the lead role.

Warning: spoilers ahead for Sunday's episode of "Game of Thrones," "Book of the Stranger."

There were some major (and much-anticipated) reunions on this week's episode of "Game of Thrones."

The biggest one for fans finally found part of the remaining Starks coming face-to-face after fleeing Winterfell. Sansa Stark (Sophie Turner) and Jon Snow (Kit Harington) met up again at Castle Black.

They weren't the only brother-and-sister pair to meet up again after great struggle. Imprisoned Margaery (Natalie Dormer) was rewarded for her calm demeanor and knowledge of the ancient text. So she got to join her brother Loras (Finn Jones) in his cell for an emotional conversation.

Meanwhile, Daario (Michiel Huisson) and Jorah (Iain Glen) finally made it to the Temple of the Dosh Khaleen, where Daenarys (Emilia Clarke) was about to go on trial in front of the Dothraki leadership. Well, that got heated...

That's the stuff you couldn't help but notice, but there's always plenty that you didn't catch.

Here are five important things you probably missed on this week's "Game of Thrones":

SEE ALSO: The 5 most talked-about moments from last week's 'Game of Thrones'

DON'T MISS: HBO is aggressively ramping up its war on people who illegally download 'Game of Thrones'

Sansa and Jon's first words to each other.

Yes, Sansa and Jon were raised as half-siblings at Winterfell, but have they ever actually spoken to each other? The answer logically is, of course, yes. We know that from the episode when Sansa asked Jon to forgive her for treating him cruelly while growing up.

But would it surprise you to hear that they've never spoken to each other on-screen in the history of the show? If so, put your surprise face on. This episode was the first time they've exchanged dialogue. Those history-making words were Sansa's: "Good soup."

Tyrion's slavery compromise was inspired by Abraham Lincoln.

If you felt like there was something very familiar about Tyrion (Peter Dinklage) offering a compromise of phasing out slavery over seven years, then you were on to something: It was inspired by our 16th president, Abraham Lincoln.

"One of the historical examples we looked to while writing these scenes was, oddly enough, Abe Lincoln," showrunner David Benioff said in the "Inside the Episode" segment. "Abe Lincoln was trying desperately to stave off a civil war between the North and the South, and he wasn't ready to get rid of slavery quite as quickly as people think."

Did Osha go too soon?

Osha (Natalia Tena), the faithful Stark servant and dangerous Wildling, gave her life trying to kill Ramsay Bolton (Iwan Rheon) on this episode. Her plan to seduce and stab him dead went awry. At this point, we're not sure if George R.R. Martin gave the showrunners a little bit of information as to how she died, or if that was simply the show's plan. At any rate, she is still alive and protecting Rickon Stark in the books. Guess we'll have to see where Martin takes her.

The model who appears in the "upskirt" Calvin Klein ad has responded to the backlash the image has provoked.

The image, which appeared on the fashion label's Instagram page, is shot below and between the legs of Danish actress and model Klara Kristin, revealing her underwear.

The photo is juxtaposed alongside the tagline "I flash in #mycalvins".

The ad sparked a huge negative social media reaction and led the National Center of Sexual Exploitation to launch a petition calling on Calvin Klein to "stop glamorizing sexual harassment and assault" and demanding the brand issue an apology to victims of sexual harassment and assault.

But Kristin is a big fan of the ad.

She posted the image to her Instagram account on Saturday, writing:

"I ✨LOVE✨ this photo @harleyweir took of me 🌙 ...all this discussion about it makes me think about how alienated and scared some people are to the female human body... Be and love yourself and your sexuality ✨💖✨ #girlpower @calvinklein

Calvin Klein has yet to respond publicly about the fierce criticism the ad has drawn and has not responded to Business Insider's requests for comment.

As we reported last week, the ad still appears on Calvin Klein's Instagram page, where the brand has gone on to post additional sexually provocative images under the "I ____ in #mycalvins" tagline.

SEE ALSO: Lingerie company CEO demands Calvin Klein rips down its 'sexist' Fetty Wap and Klara Kristin billboard

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NOW WATCH: Doctors now say this type of cancer isn’t actually cancer — and the new classification is changing thousands of lives

Warning: spoilers ahead for Sunday's episode of "Game of Thrones."

HBO's "Game of Thrones" gave fans a lot to talk about during Sunday's episode, titled "Book of the Stranger."

While several big reunions took place, we lost a fan favorite when Osha (Natalia Tena) gave her life in an attempt to take down Ramsay Bolton (Iwan Rheon). Plus, the episode ended in a blaze of glory as Daenarys (Emilia Clarke) got some major respect from the Dothraki.

But which moments had fans talking the most?

Social-media monitoring platform Brandwatch found nearly 60,000 "Thrones"-related mentions on Twitter during the one-hour episode and identified the moments when conversation peaked.

Here are the five most talked-about moments from the latest "Game of Thrones" episode:

SEE ALSO: 5 important things you probably missed on this week's 'Game of Thrones'

DON'T MISS: HBO is aggressively ramping up its war on people who illegally download 'Game of Thrones'

5. "Little Finger" returns to the Vale.

9:15 p.m. ET - More than 1,000 mentions.

4. Ramsay (Iwan Rheon) kills Osha (Natalia Tena). The many expletives used in tweets showed many fans were not happy about this scene.

9:49 p.m. ET - More than 1,100 mentions.

3. Brienne isn't forgiving or forgetting what Melisandre has done and who was killed with her blood magic.

9:12 p.m. ET - More than 1,500 mentions.

On this week's "Game of Thrones", Sansa Stark and Jon Snow finally share the screen, Tyrion's actions are inspired by a US President, and Daenerys surprises us yet again. 

Produced by Emma Fierberg. Original reporting by Jethro Nededog.

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On Sunday, "Last Week Tonight with John Oliver" looked into the lack of support given to 911 dispatchers, and it's quite scary. 

Dispatchers get a lot of calls: 240 million a year, according to the show. And though 84 million of those are butt dials, there are still many that are very serious, and because of underfunding, understaffing, and a lack of technology upgrades in the cell phone-obsessed era we live in, depending on what state you live in, the accuracy of the 911 dispatcher finding your location is very low. 

In many cases 10%. 

That means the Domino's app knows where you're located more often than a 911 dispatcher. 

In true John Oliver fashion, he tackles the topic with hilarity and shocking facts, like that the government has set a benchmark hoping to improve 911 so dispatchers can find one out of every five callers by 2021. Wow!

There's been talk of a "next-generation 911" service for a decade, in which dispatchers would be connected to IP-based networks and would even be able to accept video and text messages.

But as Oliver points out, many states have diverted money that's supposed to go into their 911 support to other needs.

Meaning it's still going to be more likely that an Uber can find you faster than an ambulance for the foreseeable future.

Watch the full segment below:

SEE ALSO: 5 important things you probably missed on this week's "Game of Thrones"

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NOW WATCH: 4 important things you probably missed on this week's 'Game of Thrones'