It's always a bummer when we get to this time of the month and have to say goodbye to some great titles from Netflix. But in June, the streaming giant is ditching a number of real gems.

Prepare yourself. 

"Ghost," "Groundhog Day," "Wayne's World," "Bridget Jones' Diary," and "Who Framed Roger Rabbit" are just a few of the iconic titles that are leaving Netflix in June.

So make sure to celebrate these films one last time.

Below is the full list of what's headed off the streaming giant.

We've highlighted in bold some titles we think you should check out (or re-watch) before they're gone for good. 

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Leaving June 1

“A Wrinkle in Time”

“About a Boy”

“Bounce”

“Bridget Jones' Diary”

“The Chronicles of Riddick: Dark Fury”
“Clear and Present Danger”
“Click”

“Darkman”

“Disney Animation Collection: Vol. 5: Wind in the Willows”
“Dude, Where's My Car?”

“Duplex”

“Elias: Rescue Team Adventures”: Season 1

“The Faculty”

“Far from Home: The Adventures of Yellow Dog”
“Ghost”

“Groundhog Day”

“Hamlet”

“Hercules”

“In the Bedroom”

“Jersey Girl”

“Kinky Boots”

“Lassie”
“Losing Isaiah”

“Madonna: Truth or Dare”

“Marvin's Room”

“Music of the Heart”

“My Boss's Daughter”

“Nine Months”

“The Others”

“Paris Is Burning”

“Private Parts”

“Proof”

“Schoolhouse Rock!: Earth”

“The Sisterhood of the Traveling Pants”
“The Station Agent”

“The Stepford Wives”

“Stir of Echoes”

“Stir of Echoes 2: The Homecoming”
“The Super Hero Squad Show”: Seasons 1-2
“Velvet Goldmine”

“View from the Top”

“Wayne's World”

“The Yards”

Leaving June 15

"The Bank Job"

Leaving June 18

“A Late Quartet”
“The Wubbulous World of Dr. Seuss”: Season 1
“The Hunchback of Notre Dame”
“The Hunchback of Notre Dame II”
“Marvel's Avengers Assemble”: Season 1
“Mulan”
“Who Framed Roger Rabbit”

We've jumped into the summer-blockbuster movie season, and that means a whole lot of sequels to be seen.

In an era when it seems that every idea in Hollywood has been made into a franchise or rebooted, several famous titles missed the boat.

In some cases, the filmmaker moved on to other projects — including franchises — while for others rumors of a sequel have been swirling for decades.

Here we rank the 18 movies that we think deserve a sequel:

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18. "Unbreakable" (2000)

Following the huge success of "The Sixth Sense," director M. Night Shyamalan combined comic books with the supernatural with this story in which Bruce Willis plays a man who, after an accident, slowly realizes that he has superhuman powers.

Though the movie had a poor box-office performance, over the years there have been rumors of a sequel, but they seem to be just that. But it would be great to see Samuel L. Jackson's character from the movie, Elijah Price — aka Mr. Glass — fleshed out in a sequel as a villain.

Likelihood of a sequel: Probably not going to happen. Now with the superhero craze, studios are looking for ways to bring existing comic-book characters to the screen, not ones from an underperforming movie.

17. "Good Will Hunting" (1997)

All right, give this one a second to sink in. A sequel to the movie that made Matt Damon and Ben Affleck stars — and Oscar winners — could work.

Have Damon's Will Hunting character return to South Boston and be the one who is the mentor of a troubled teen, while reconnecting with his buddy Chuckie (Affleck). Or we can always go with the idea Kevin Smith teased in "Jay and Silent Bob Strike Back."

Likelihood of a sequel: Never. Damon and Affleck are on bigger projects and heading franchises, like Jason Bourne and Batman, to worry about what Will and Chuckie are up to.

16. "True Lies" (1994)

Arnold Schwarzenegger playing a suave secret agent searching for a terrorist while also dealing with the idea that his wife (Jamie Lee Curtis) might be cheating on him had all the makings of a franchise.

But as the years went on, director James Cameron found less interest, and then the idea finally deflated after the attacks of September 11, 2001.

Likelihood of a sequel: You can never say never when it comes to Schwarzenegger and Cameron. But with Cameron focused on his "Avatar" franchise, it's unlikely.

There's something to be said for a man who knows what he likes and sticks to it.

In this instance, that man is George Clooney, and that thing is black clothing. Those who are paying attention have probably noticed that Clooney almost always dresses in black.

It was most recently obvious at his appearances in Cannes, France, in support of his new movie "Money Monster", which was showing at the Cannes Film Festival.

He wore two different mostly black outfits: a casual all-black outfit, and a red carpet black tie ensemble. He nailed both in his trademark style. No need for a fancy stylist here.

How can Clooney get away with this? Well first, he's a noted handsome man and sex symbol, and what he wears matters less than who he is (also who he has on his arm doesn't hurt at all).

But more importantly, he's cultivated this personal style, found what works, and stuck with it over the years. He isn't into trying new things — mostly because he doesn't need to. His style is simple, makes him look confident and put-together, and has become a signature.

Why would he change? He already has something that lands him on magazine covers around the world.

That doesn't mean Clooney never errs. He's known to wear the odd dad jean, and sometimes it's just too much black all at once.

But when he nails it, he reaches the apex of men's style and exemplifies what all men should aim to be: cool, confident, and in control of their image. 

SEE ALSO: 2 things every guy can learn from the best-dressed man at the Met Gala

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NOW WATCH: This behavior could kill your chances in a Goldman Sachs interview

Frequent "Shark Tank" guest judge and billionaire tech mogul Chris Sacca is saying that he didn't throw a tantrum after being turned away from "Hamilton."

Sacca denied a report that he allegedly threw a fit when he and his wife, Chrystal English, were denied admission into Broadway's biggest hit show when it was discovered that the tickets he bought from StubHub were counterfeit.

According to the New York Post, Sacca didn't take no for an answer when he was denied entry because of the fake tickets.

The newspaper's source said that Sacca repeatedly asked, “Do you know who I am?”

“He was getting really angry at the ticket scanner,” the eyewitness said of the alleged encounter, describing the mogul's tone as "condescending." “He said he was a ‘shark’ on ‘Shark Tank’ and warned it wouldn’t be good if they couldn’t get in."

The unnamed source said that Sacca proceeded to cause a scene with the person scanning tickets, and then asked for a manager. The theater's higher-up also told Sacca he couldn't get in and warned him about buying secondhand tickets.

Sacca took to Twitter Monday and called the story "bulls--- gossip" and said it "didn't happen" on Twitter.

Sacca — who, through his venture capital fund Lowercase Capital, was an early investor in companies such as Twitter, Uber, Instagram, and Kickstarter — said he took selfies with the theater's staff and threw the blame on StubHub, a digital person-to-person ticket marketplace.

A StubHub spokesman told the New York Post that it blamed “seller error,” and added that the company has reached out “to apologize and get [Sacca] back to a show.”

Business Insider asked Lowercase Capital, "Shark Tank," and the New York Post for comment.

SEE ALSO: John Oliver and the 'Hamilton' creator address Puerto Rico's desperate financial crisis

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

The matriarch of the Kardashian-family empire has a new venture, and it reportedly has a questionable past.

Kris Jenner is the face and chairwoman of the new Legacy Business School, a "new kind of education experience," as its website describes it, in which "popular culture and passion" are infused with the learning.

But it turns out that the school is linked to a European university targeted in lawsuits.

According to The Daily Beast, Legacy Business School once operated under the name "European School of Economics," a for-profit organization that the New York State Education Department claims illegally advertised and granted bachelor's and master's degrees without state permission.

ESE also faced huge debt, which includes $88,930 to a marketing agency, $4,336 to a florist, $3,528 to a limousine company, and $92,000 in unpaid rent to the Empire State Building.

Though officials at Legacy Business School told The Daily Beast that it's a new school, it has the same address, phone number, and CEO, Alessandro Nomellini, as the European School of Economics.

The school is presently headquartered at Trump Tower in Manhattan and is launching a satellite campus in Dubai. Tuition can cost up to $105,360 per year. The first 100 students accepted and enrolled get a chance to have an exclusive dinner with Jenner.

"As someone who always expects the best, I was drawn to Alessandro's concept of a white-glove business school, offering the finest amenities, with luxuries that you'd expect from a school created for the global elite," Jenner told a group of press in Dubai in April.

Jenner, an executive producer on the E! reality shows starring her family, added:

It's really going to give students access to new jobs that there never were before. Students can learn how to be a fashion blogger or a designer, for example, but also be taught how important it is to implement the branding and management behind it. There's definitely a focus on business and fashion.

It's unclear if Jenner is aware of the school's alleged connection with ESE. Requests made by The Daily Beast for her comment were never returned.

Kris Jenner's representatives did not immediately respond to a request for comment from Business Insider.

Read the complete Daily Beast story here.

SEE ALSO: Elijah Wood says there's a secret pedophile ring in Hollywood and child actors are 'prey'

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NOW WATCH: There's a 'third' Jenner kid in the Kardashian clan that no one's ever heard of

There’s another contender for the James Bond crown.

“Quantico” star Priyanka Chopra told Complex that though she gets the “You’d be a great Bond Girl” line all the time, the former Miss World pageant winner has loftier goals.

“F--- that — I wanna be Bond,” she said.

Turns out breaking gender barriers is her thing. She’s currently filming the movie version of “Baywatch,” starring Dwayne “The Rock” Johnson and Zac Efron, in which she plays the villain. She revealed to Complex that originally the role was supposed to be for a man.

So look out Tom Hiddleston and Idris Elba, who have been the names often talked about as potential replacements for current Bond Daniel Craig.

If the rumors are true and Craig isn’t returning for another go-around as 007 (when Business Insider reached out to Sony about this, the studio said it had no comment), expect a whole lot more names to be thrown around.

And Chopra won’t be the only female in the mix.

Fans of "X-Files" and "The Fall" star Gillian Anderson have been banging the drum loudly for her to be the next Bond.

Anderson even tweeted out this fan-made poster.

SEE ALSO: John Oliver argues why we need to fix the process for choosing the presidential nominees

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

When reality-show producer Mark Burnett called FUBU founder Daymond John in 2008 to ask him if he wanted to be an investor on his upcoming show "Shark Tank," John had previously only worked within the fashion business but saw the opportunity as the perfect way to promote his existing brands and diversify his portfolio.

John had invested in around 10 clothing brands before joining the show, but he was hardly a seasoned angel investor. As he reveals in his new book "The Power of Broke," the growing pains of the first season cost him "about $750,000 of my own money that I've yet to get back."

In retrospect, the experience taught him the following lessons that have allowed him to become a savvier investor and corporate adviser, whose small businesses now make millions of dollars in annual profit.

Don't get caught up in the moment

Because "Shark Tank" was new in 2009, the producers weren't able to book the generally high caliber of entrepreneurs that appear on the show now. This was the season where a urologist got $25,000 to build a business around his hollow golf club that lets you pee into it.

So that meant that not only were the offerings slim, but about half of the deals made in front of the cameras didn't close because the businesses didn't pass due diligence — about 80% of the deals closed last season, according to John.

But even if he was seeing something he normally wouldn't want to invest in, he found himself getting caught up in the excitement of a bidding war with his fellow investors. And even if he found himself in a dud deal, he would spend too much time thinking he could transform a hopeless business, since he had already made it that far.

Throwing money at a problem doesn't solve it

John named his book "The Power of Broke" because, as he looked back on his career, he found that the common thread in all of his failures since becoming successful was the belief that an injection of capital could save a dying business or enhance a deal.

The scrappy attitude he had while building FUBU out of his mother's house in the 1990s helped him become the CEO of a hundred-million-dollar business because he made decisions as though every cent mattered — and it did.

Not only did he try keeping his handful of "Shark Tank" season-one businesses alive for longer than he should have, but he unnecessarily spent $200,000 on legal fees vetting and closing deals with them.

When he looked more closely at it, he realized that while he trusted his law firm, they weren't fit for that type of business. He began working with a venture-capital firm the next season, and cut his legal fees down to $30,000.

Rely on your team

To help with his season-one investments, John hired consultants for licensing, marketing, and social media.

"All these different experts, when I was hiring them on an as-needed basis that first year, their fees were killing me," he writes.

It was unsustainable. It's why he built a new company, Shark Branding, with a full-time staff that handled licensing, business development, legal issues, contracts, marketing, and internal management.

"I was able to pursue similar deals away from the show, growing my business in ways I hadn't even anticipated and helping to spread those overhead costs across a number of different properties," he writes.

It turned out that a reality show, of all things, forced John to become a better investor, manager, and entrepreneur.

John writes:

I lost a bunch of money because I found myself making decisions in ways I'd never made them before. I was spread thin, with all these new demands on my time, so a lot of times I would just throw money at a problem and hope that would take care of it. But of course, that's not how it works, right?

SEE ALSO: The billionaire founder of Under Armour was once so broke he couldn't pay a $2 toll — here's what the experience taught him

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NOW WATCH: 'Shark Tank' star Daymond John on the advantages of being broke

Earlier this month, Hulu's CEO confirmed the company was developing a cable-like online TV package to expand its footprint to areas like sports, news, and live events.

Many of the details have yet to be nailed down, and estimates for the price of the service range from $30-$40. But some analysts are already seeing a game-changer, with Citi predicting it could shake up the sports TV landscape, and Credit Suisse raising its valuation of Hulu to $25 billion following the news.

But what are the keys to Hulu’s success with live TV?

Credit Suisse talked to two “former senior executives at Hulu,” both of whom had worked on early versions of the live product, “which has been in development for at least three years.” Here are the three key points, according to a Monday note:

1. “Market research suggested that the most important content to include in a live streaming product is primarily sports and news.” Contrary to some previous analyst questioning of the value of ESPN, these executives “highlighted that ESPN was a ‘must-have’ to make this type of product a success," analysts write.
2. Hulu can’t abandon on-demand. “On top of the live networks, both executives felt it was important the product included a deep on-demand library and in-season catch-up service from all content partners.” The idea: Netflix plus live.
3. Some networks would have to get the axe. “They felt that most of the content on Viacom, Discovery and Scripps was not valuable enough for a live product to make all the networks worth including in Hulu's live streaming product.”

Credit Suisse estimates that Hulu could generate “healthy” EBIT margins of 26% (at $40 per subscriber per month).

Here are the analysts' basic assumption for content costs:

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NOW WATCH: Reruns on cable are not the same as the originals — check out these differences

Netflix’s huge exclusive deal for Disney movies, which was negotiated in 2012, will finally begin to bear fruit this September. This deal encompasses the complete output of Disney, including Marvel, Lucasfilm, and Pixar.

In a blog post, Netflix’s head of content, Ted Sarandos, announced that “from September onwards, Netflix will become the exclusive US pay TV home of the latest films from Disney, Marvel, Lucasfilm and Pixar.”

 The deal actually began to take effect for all films released in theaters since the start of 2016 (sorry, no new "Star Wars"). But we didn't know how long it would take those releases to make their way out of theaters, and then through the DVD, Blu-ray, and digital release schedule. Now we know they will start to land on Netflix in September.

This Disney deal fits in with Netflix's push towards exclusive licenses, which the company has characterized as more valuable moving forward. And it will mean these titles won't be available on competitors like Hulu and Amazon Prime.

SEE ALSO: How Hulu could win in live TV, according to former Hulu execs

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NOW WATCH: The sneaker resale market is worth a massive $1 billion and these are the sneakerheads driving it

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

In that growth and through that transition, smartphones as a gaming arena experienced its own evolution. More developers flocked to this medium, and the gaming sections of app stores became saturated. While mobile gaming apps using an up-front paid downloading model, wherein consumers paid a typically nominal fee to download an app, flourished in the early days of mobile gaming, the deluge of apps led to a change in monetization strategy. More apps started using the free-to-play (F2P) model, wherein a consumer can download an app for free, and is then later monetized either via in-app purchases or in-app advertising. Since that transition, most consumers have been conditioned to expect quality mobile gaming apps for little or no cost.

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

Here are some key takeaways from the report:

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

In full, the report:

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

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

1. Subscribe to an All-Access pass to BI Intelligence and gain immediate access to this report and over 100 other expertly researched reports. As an added bonus, you'll also gain access to all future reports and daily newsletters to ensure you stay ahead of the curve and benefit personally and professionally. >>Learn More Now
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Legendary filmmaker John Carpenter seemed to walk away for good from the movie that made him an icon when he declined to direct “Halloween H20: 20 Years Later” in 1998 due to a contract dispute.

But it seems time has healed this particular wound: Carpenter will be an executive producer on a new “Halloween” movie, which will be financed by Miramax and Blumhouse Productions, according to an announcement released on Monday.

This is the first time Carpenter has been directly involved in a “Halloween” movie since 1982’s “Halloween III: Season of the Witch” (for which he was a producer).

“‘Halloween’ needs to return to its traditions,” Carpenter said in a statement. “I feel like the movies have gotten away from that... Michael is not just a human being; he’s a force of nature, like the wind. That’s what makes him so scary.”

This new “Halloween,” which is currently in preproduction, will be the 10th sequel in the classic horror franchise that follows a psychotic masked killer named Michael Myers.

The first “Halloween,” which opened in 1978 and starred a then-unknown Jamie Lee Curtis as the babysitter Myers is stalking and Donald Pleasence as the psychiatrist determined to kill Myers, was an instant hit. The movie was made for just $325,000 and it earned $47 million worldwide.

The scares in the movie were heightened by the film’s memorable score, which Carpenter also created.

The sequels in the decades since have seen hits and misses. But Blumhouse head Jason Blum, who's been behind recent low-budget horror hits like the “Paranormal Activity” and “Insidious” franchises, believes getting Carpenter back into the mix is what the Myers series has been missing.

“‘Halloween’ is one of those milestone films that inspired everyone at our company to get into the world of scary movies,” Blum said in a statement, “and we are so excited that Miramax brought us together. We cannot wait to find and collaborate with the right filmmaker to give 'Halloween' fans the movie they deserve.”

Here's the trailer from the original "Halloween."

SEE ALSO: RANKED: 18 movies that never got a sequel but deserve one

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

Bill Cosby is back in court over criminal allegations that he sexually assaulted a woman working for a basketball team in 2004.

The comedian faced a number of disturbing sexual assault accusations in 2014 after comedian Hannibal Buress called him a rapist during a taped set, but this is the first time a criminal case has been launched against Cosby over the accusations.

Buress' tape, which went viral, caused news of Cosby's past to hit the mainstream and seriously derailed his planned career comeback. 

Here is the video: 

Bringing up one lawsuit that had been filed against Cosby, now 78, by one of his alleged victims, Hannibal Buress said "that sh*t is upsetting. If you didn’t know about it, trust me. You leave here and Google ‘Bill Cosby rape.’ It’s not funny. That sh*t has more results than Hannibal Buress." 

Buress was surprised by how quickly the footage was picked up, Gothamist reported. "It's just information that's out there," Buress said on Howard Stern's SiriusXM show. "It was unexpected," he explained, as this was the first time any of his bits went viral. 

The thumbnail for this story is a photo of Hannibal Buress.

SEE ALSO: The Backstory Behind The Shocking Bill Cosby Rape Allegations

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NOW WATCH: The attorneys from ‘Making a Murderer’ talk about whether an ‘impartial jury’ is even possible

Back in 2014, comedian Hannibal Buress made a joke about Bill Cosby at a comedy club in Philadelphia, and the resulting media pandemonium brought the sexual-abuse allegations against Cosby to center stage.

Cosby was later charged with aggravated indecent assault in one case that's more than a decade old, his first criminal charge over his conduct with women. He has now returned to court for a hearing in that case.

"Pull your pants up black people, I was on TV in the '80s," Buress said in the bit, mocking Bill Cosby's public persona. "Yeah, but you rape women, Bill Cosby," Buress reasoned, "so turn the crazy down a couple notches."

Shaky video footage of Buress' Cosby joke went viral.

Since the joke, more than 40 women have come forward to accuse Cosby of sexual abuse. Cosby has since been vilified by comedians (Judd Apatow, most prominently) and pundits alike, and the evidence against Cosby continues to pile up — a 2005 deposition uncovered by the Associated Press revealed that Cosby acknowledged that he obtained quaaludes with the intention of "giving them to young women he wanted to have sex with."

Nonetheless, Buress' public reaction to the media firestorm he helped ignite has been one of relative apprehension.

In an interview with GQ, Buress opened up about the situation and revealed that the buzz around his Cosby joke actually halted Comedy Central's announcement of his new show, "Why? with Hannibal Buress."

While he doesn't exactly regret doing the Cosby bit, Buress said he was definitely shocked by the uproar.

"You can't predict s--- like that," he said.

The GQ interviewer pressed Buress on the subject, asking whether he realized that his Cosby joke had made him "a feminist hero" for giving Cosby's many accusers the opportunity to speak openly about their abuser.

"People are going to put on you whatever they want to put on you," Buress responded, reluctant to accept the "feminist hero" title.

"It is conflicting, because people think I'm like this amazing guy or something," he said, with a laugh. "I'm a decent guy."

Still, the comedian in Buress can't resist pulling a shot at Cosby when he's able to get people to laugh about it. At the Comedy Central Roast of Justin Bieber, for instance, Buress joked that he hates Bieber's music "more than Bill Cosby hates my comedy."

In the context of the GQ interview, though, Buress seemed tired of the subject.

"I don't know what the f--- else you want me to say," he concluded.

SEE ALSO: Judd Apatow skewers Bill Cosby while doing a perfect impression of him

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NOW WATCH: Here’s is the uncomfortable moment when Bill Cosby asked a journalist not to air part of an interview about allegations against him

On Tuesday's "Full Frontal," host Samantha Bee explained how a strange film rallied the religious right against abortion.

Bee continued last week's history lesson about the rise of the religious right by introducing sci-fi filmmaker Frank Schaeffer.

"One of the things that I did, back in the day, when I was young, was help found, start, begin what became known as the pro-life movement," Schaeffer said in a video. "It is the single biggest regret of my life."

Schaeffer, the son of conservative theologian Francis Schaeffer, created a strange art/propaganda film against abortion titled "Whatever Happened to the Human Race?" It featured Schaeffer's father and C. Everett Coop, who would later become US Surgeon General during the Reagan administration, and strange elements taken from experimental film.

As Bee previously explained, it wasn't the 1973 Roe v. Wade decision that mobilized evangelical Christians to become active in voting. It was earlier in the '70s when the IRS decided it would pull tax exemptions from segregated private schools. Specifically the evangelical school Bob Jones University became the focus of conservative Christians.

Proud of the movement they created, the leaders of the religious right were looking for other issues to continue the movement's momentum. This is when abortion was suggested and they latched on to it.

Bee joked, "Were they founding a movement or deciding what toppings to get on their pizza?"

First, they had to educate the evangelical masses by screening the anti-abortion film at churches across the nation. But the film was flopping.

"Abortion was that thing Catholics worried about. Most evangelical leaders didn't want anything to do with it," Schaeffer explained of the reluctance to get on the anti-abortion train. 

But then Republican politician Jack Kemp got involved. He gave the issue credibility and rallied 50 congressmen and senators to see the film. It snowballed into the pro-life movement we're familiar with from there.

Bee joked of the pro-life movement's history, "As Margaret Mead said, 'Never doubt that a cynical conference call and a fundamentalist faux-Fellini film festival can change the world. Indeed, it is the only thing that ever has.'"

Watch the segment below:

SEE ALSO: Samantha Bee explains why the religious right gave up its fight and got behind Trump

DON'T MISS: John Oliver argues why we need to fix the process for choosing the presidential nominees

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NOW WATCH: 'Is abortion murder?' — Watch Trump's latest garbled response

"The Late Late Show" had Sacha Baron Cohen as a guest on May 23, 2016. The actor discussed his 2003 interview with Donald Trump, which he conducted as his character, Ali G.

Produced by Jacqui Frank

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While taking a break from making his latest movie, "Allied," a World War II drama from director Robert Zemeckis ("The Walk") currently shooting in the Canary Islands, Brad Pitt helped a young girl who looked to be in danger among the crowd of people hoping to catch a glimpse of the actor.

In a video that shows what transpired, Pitt walked over — still in costume from the scene he shot — to wave at the crowd that was behind a fence. While waving and blowing kisses to the crowd, Pitt noticed that a young girl in the front was being pressed against the fence by the excited crowd.

A concerned Pitt walked up to the fence, asking people to move back, but the crowd only got closer. The girl was able to get to the top of the fence, where Pitt spoke to her and, from what it seemed, tried to get her to catch her breath.

Here's a picture of Pitt with the girl at the fence:

While Pitt talked with crew members around him, the girl was eventually pulled over the fence and Pitt stood beside her until paramedics arrived.

Once the girl seemed to be fine, Pitt waved again to the crowd and walked away. 

Watch the full video here:

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NOW WATCH: 5 important things you probably missed on this week's 'Game of Thrones'

"Game of Thrones" star Emilia Clarke was happy to see that the HBO show threw in some full-frontal male nudity on Sunday's episode.

Recently, she said during a "Conan" interview that she wanted some gender equality when it came to nudity. And that's what "Thrones" gave viewers, at least for one episode.

"You know I did it, so why can't the boys do it?" she said on Stephen Colbert's "The Late Show" Monday. "I think they heard me."

Or as she put it during another point in the interview, "Junk equality!"

One of the newly introduced theater group members was seen naked as he worried about the amount of warts on his penis. It may not have been sexy, but Clarke is taking it. 

The actress has certainly contributed her fair share of the female nudity during the show's run, most recently when her character, Daenerys, emerged from a burning building unscathed.

Clarke explained to Colbert why she didn't use a body double for the scene.

"For me, I did it before in season one and people like to talk about it," she explained. "So I just wanted to come out and do an empowered scene, which wasn't sexual. It was naked, but it was strong."

Watch the video below:

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

When 20th Century Fox paid to take over Snapchat's filters before the release of the movie "X-Men: Apocalypse," some Snapchat users were angered at what felt like an intrusion into their social space. 

But the exact opposite happened when 20th Century Fox launched an app using Victorious' technology.  X-Men superfans flocked to it and found friends in their fandom. 

"While so many companies are so focused on content distribution and views, we’re laser-focused on the experience and the engagement piece beyond consumption. That’s the majority of a fan's time," Sam Rogoway, CEO and cofounder of Victorious, told Business Insider. "Their passion doesn’t die when the view is over or a new video isn’t available."

Victorious helps creators, from YouTube bloggers to brands like 20th Century Fox's X-Men, create apps designed to bring together superfans. Nearly two years after the Santa Monica-based startup launched, the company has produced more than 100 apps, with 15 of them cracking into the top 50 in their respective categories. 

On Tuesday, the company is announcing that it's closed a new $25 million round of fundraising from Marker LLC in New York City and Dentsu Ventures in Japan with participation from its existing investors like Kleiner Perkins and Redpoint Ventures. The company has now raised a total of $50 million to invest in building the fan communities online.

The money will go toward funding Victorious' international expansion and its big quest to learn how to power the communities of super fans. 

"Our audience is global already. It’s not an if, it’s already there," Rogoway said.

The light bulb moment

To be a super fan now, Rogoway says, people have to "hack" the internet to find people who share their passion. 

For example, a 35-year-old accountant might not want to admit they're obsessed with One Direction fanfiction on their Twitter account or even by joining Facebook groups. Finding other fans takes work to find a community, Rogoway said.

The serial entrepreneur stumbled onto the idea for Victorious after Vidcon in 2014. New video stars were mobbed by fans at the show, but after it ended, all of the fans would go back to their own silos of the internet. Some fandoms lived on Tumblr. Many were on Reddit threads. Some people were just following each other on Twitter.

That's when the light bulb moment struck. He realized lot of these new internet stars were young and seemingly hit star status overnight. They didn't have time to amass a cohort of software developers to build an app.

Instead, Victorious created a platform for content creators to create an app where they could engage with fans, but more importantly, where fans could interact with each other.

Rogoway's insight is a sentiment that's been echoed by the creators, too. Ryan Higa, for example, wanted the app to feel bigger than himself, Rogoway explained. The massive popularity that allowed several of Victorious' apps to hit the top of their app store categories isn't driven by how many videos uploads to the app. 

"It's not because creators are posting. Fans are befriending other fans," Rogoway said.

It's not another celebrity app 

While Victorious has built more than 100 apps, the company doesn't see itself as an app developer. Instead, the technology lets creators unlock a community centered around an app, instead of tucked away on Tumblr or only seen through Twitter hashtags. 

"It's never been about apps for us," Rogoway said. "It's about delivering those interactive experiences for fans."

In the last year, the company has doubled down on its vision to be the go-to destination for superfans. Victorious started working with Jason Wilson, an Apple designer and Pinterest's former head of design. It also brought on Instagram's former Head of Product Marketing, Julia Tang, to lead its product marketing. 

The startup is also targeting more than just the digital creator generations. While it launched with big name YouTube stars, the company is working more and more with companies like Fox to build apps like the X-Men one. There are even sports channels like The Lacrosse Network or Fitness Blender.

"We'll be working with an even more diverse set of creators in the next stage of our company," Rogoway said.

The new funding round will empower the company to focus on accelerating growing to the next stage of the company. Rogoway is in particular bullish on countries like Japan where the company has already seen some earlier success. The next stage for the company will be focusing on how its app can unite superfans around any type of creator, whether it's a Vine star or an emerging artist.

"We’ve always fancied ourselves as a superfan platform, and the fact is that superfans have to hack the internet today to connect with one and other and express themselves," Rogoway said. "We think we’re just scratching the surface on how do you unlock the power of fandoms, and part and parcel with that is giving fans an identity within the community."

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As "Captain America: Civil War" continues to be the big winner of the summer movie season, already hitting over $1 billion worldwide, the question is what surprises might knock Marvel's blockbuster off balance.

"Angry Birds" dethroning "Civil War" from the US box office was a shock to some. And with "X-Men: Apocalypse" and "Alice Through the Looking Glass" opening this weekend, it will be interesting to see what audiences go after — a thrilling comic-book adaptation or a children's fantasy. 

Here's the latest word on the popular titles of the summer and what looks primed to ascend the box office.

Read all summer movie power rankings.

SEE ALSO: 41 movies you have to see this summer

10. "Angry Birds" (May 20)

Proving that Sony may not be nuts making a movie about emojis, the studio's Angry Birds movie, based on the popular app, hit No. 1 at the box office, dethroning "Captain America: Civil War."

It will be interesting to see if it will hold its own throughout the summer, especially since its win the first weekend was a surprise. At the very least it will leave the summer having some bragging rights.

Last Ranking: New This Week

9. “Ghostbusters” (July 15)

The insults thrown at the all-female "Ghostbusters" continues. Social media exploded recently when a blogger vowed not to review the reboot.

We've now gotten to a point where the movie has so much venom around it that it's tough to see if it can get an honest release, as almost all press will be focused on the pre-release "news."

Hopefully the talents of director Paul Feig and the cast — Melissa McCarthy, Kristen Wiig, and the rest — can silence all the bad hype when people actually see the movie.

Last Ranking: 7th

8. “Neighbors 2: Sorority Rising” (May 20)

Though the movie was riding on positive reviews and an original that was a huge moneymaker, "Neighbors 2" had a soft opening weekend, making about 50% less in the US than the original.

The title could rebound through the summer, but Universal is not looking at a repeat performance of the original.

Last Ranking: 6th

Netflix is in the midst of a big transition.

While Netflix gained much of its past dominance in the streaming space by letting you binge-watch reruns of old shows and movies, the company has increasingly pivoted toward its own original content. That isn’t new for Netflix, which has constantly reinvented itself since it debuted its DVD-by-mail service in 1998.

Netflix executives have said, on many occasions, that they believe original (and exclusive) TV shows and movies are the best way to provide value to its subscribers moving forward. That’s why Netflix will release 600 hours of original content this year, including 31 original shows, roughly double its 2015 output.

But how are subscribers reacting to the shift in Netflix’s programming? According to research by RBC Capital Markets, they approve. In a recent survey, 49% of Netflix subscribers thought Netflix’s content had improved over the last year (further breaking that number down, 30% said it had “greatly or moderately improved” with the remainder answering "slightly improved"). Only 10% thought content had gotten worse. The rest of the surveyed subscribers thought the quality of Netflix's content had "stayed the same."

As you can see, this most recent survey is consistent to trends RBC has seen in the past, indicating that Netflix hasn’t seen a drop in subscriber happiness as it remakes itself, despite trimming its catalog by over 30% since the start of 2014.

60% of respondents told RBC that original content was important to their decision to remain a Netflix subscriber (up from 46% two years ago). 24% said original content wasn’t important. RBC says it expects original content to be “more impactful” moving forward.

That’s what Netflix is betting on.

Last fall, Netflix CFO David Wells said the company had found originals to be “much more impactful” relative to licensing, and the company has jumped headfirst into this area.

SEE ALSO: Netflix's US catalog has 32% fewer titles than it did in 2014

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