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The latest news on TV from Business Insider
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    14 girls finale 001.w710.h473.2x

    "The Americans" ended in May with an incredible finale that was the perfect end to one of the best TV series of all time. But not every series finale is as brilliant.

    A few of the best shows in TV history ended terribly, including "Seinfeld" and "Girls." The worst series finales ignore the show's themes, or abandon some of its main characters to tell a detached story. 

    It's a daunting task to wrap up a series in just one episode, comedy or drama. It takes an overwhelming amount of thought and planning since it requires wrapping up both the show and the season. Series finales also require closure for characters, but not so much that there's nothing left to think about after it airs. 

    Here, we collected some of the best and worst series finales that left us either fully satisfied or screaming at the TV. 

    Here are 29 of the best and worst series finales of all time, from "The Americans" to "Gossip Girl":

    SEE ALSO: 'The Americans' ended with one of the greatest series finales ever, and it marks the end of TV's Golden Age


    "M*A*S*H*"— season 11 episode 16, "Goodbye, Farewell, and Amen"

    When it aired: February 28, 1983

    After 11 years on the air, "M*A*S*H" lived up to expectations in its series finale. And it is still the most-watched TV series finale of all time. In the end, the characters finally get to go home, but that also means they won't be together anymore. It's a bittersweet ending that forever changed what a series finale for a TV show can be, because it doesn't always have to be the happiest ending possible.

    "Cheers"— season 11 episode 26-28, "One for the Road"

    When it aired: May 20, 1993

    Besides the return of Diane, the series finale of "Cheers" is still so great because it isn't much different than a typical episode. All of the characters have similar problems: Jack and Diane get back together but then they break up (they were the original Ross and Rachel), and Cliff is annoying, as always. The series ends as most episodes of the show do: with the Cheers gang contemplating life at the bar. 

    See the rest of the story at Business Insider

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    chris hardwick amc.JPG

    • Chris Hardwick has responded to allegations of abuse by former girlfriend, Chloe Dykstra.
    • On late Thursday, a Medium post from Dykstra titled "Rose-Colored Glasses: A Confession" outlined years of sexual and emotional abuse she suffered while dating an ex.
    • Dykstra didn't name her ex, but described the man as someone who went from running a podcast to starting his own company.
    • Many believe it could be Hardwick, who turned his Nerdist podcast into Nerdist Industries.
    • Hardwick says he was "blindsided" and "devastated" to read Dykstra's essay. He denies the allegations and claims he wants the best for Dykstra.
    • Since Friday, Hardwick has been scrubbed from Nerdist's website.
    • He also hosts multiple talk shows on AMC and is set to host several panels at San Diego Comic-Con in July.

    Chris Hardwick has responded to allegations of sexual assault and emotional abuse by his ex-girlfriend, TV personality and host Chloe Dykstra.

    "These are very serious allegations and not to be taken lightly which is why I've taken the day to consider how to respond," said the AMC personality and comedian in a statement to Deadline late Friday. "I was heartbroken to read Chloe's post. Our three-year relationship was not perfect — we were ultimately not a good match and argued — even shouted at each other — but I loved her, and did my best to uplift and support her as a partner and companion in any way and at no time did I sexually assault her."

    In a Medium post which went viral Friday, Dykstra claims she was both physically and emotionally abused by a former boyfriend. 

    chloe dykstra chris hardwick

    The essay outlines years of sexual and emotional abuse, which Dykstra says included being pressured into having sex. The "Heroes of Cosplay" star details a controlling relationship where she was told her nights "were expected to be reserved for him," and that she "was not to have close male friends" unless they worked together. 

    After their breakup, Dykstra says her ex-boyfriend had her blacklisted from companies she worked for by threatening to never work with them.

    You can read the full post here. Warning: It may be triggering to those who have experienced abuse or who have struggled with eating disorders.

    In his statement to Deadline, Hardwick says his relationship with Dykstra ended after he learned she had been unfaithful and that she asked to get back together with him. He denies any sexual assault.

    "I'm devastated to read that she is now accusing me of conduct that did not occur," said Hardwick. "l was blindsided by her post and always wanted the best for her. As a husband, a son, and future father, I do not condone any kind of mistreatment of women."

    Hardwick married model and newspaper heiress Lydia Hearst in 2016.

    chris hardwick lydia hearst

    Dykstra didn't name her ex in the Medium post. She described him as someone who "grew from a mildly successful podcaster to a powerhouse CEO of his own company."

    Many came to the conclusion that it could be Hardwick, who she dated from 2012 to July 2014.

    Hardwick started a Nerdist podcast in 2010, which was named Id10t in February 2018. Two years later in 2012, Hardwick founded Nerdist Industries, which includes a series of podcasts and news site, Nerdist.

    Friday, after the publishing of Dykstra's Medium post, Nerdist scrubbed any mention of Hardwick from its site. Nerdist's parent company Legendary released the following statement:

    "Chris Hardwick had no operational involvement with Nerdist for the two years preceding the expiration of his contract in December 2017. He no longer has any affiliation with Legendary Digital Networks. The company has removed all reference to Mr. Hardwick even as the original Founder of Nerdist pending further investigation."

    In recent years, Hardwick has become a major face of AMC network. He hosts after shows for "The Walking Dead" and its spinoff "Fear The Walking Dead." In February 2016, AMC announced a multi-year deal with Hardwick, announcing aftershows "Talking Saul" (for "Better Call Saul") and "Talking Preacher" (for AMC's "Preacher").

    His latest AMC series, "Talking With Chris Hardwick," a talk show with various celebrities, is supposed to start its second season June 17. Donald Glover ("Solo") and Chris Pratt ("Jurassic World") were among the first guests.

    According to Deadline, AMC is considering requests to postpone the show until claims against Hardwick are investigated. AMC didn't to INSIDER's request for comment on whether Hardwick's show will air Sunday.

    Hardwick also hosts a game show "The Wall" on NBC. It was renewed in March for a third season.

    In July, Hardwick is set to host several panels at July's annual San Diego Comic-Con, including the favorite "Walking Dead" panel and another for BBC America's "Doctor Who."

    Dykstra didn't immediately respond to INSIDER's request for comment.

    If you are a victim of sexual assault, you can visit RAINN or call its hotline at 1-800-656-4673 to receive confidential support from a trained staff member.

    Join the conversation about this story »

    NOW WATCH: A Navy SEAL explains why you should get up at 4:30 am every day

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    will and grace

    • The upcoming fall TV season is loaded with reboots and remakes such as "Murphy Brown,""Magnum P.I." and "Charmed."
    • Nostalgia has always sold when it comes to TV, but changes to the TV landscape make it an especially good time for reboots to thrive.
    • Older shows have much bigger followings than the shows that are created in today's splintered TV market.

    Designer Yves Saint Laurent once said, “Fashions fade, style is eternal.”

    The same could be said for television: When a popular show concludes, it lives on in syndication and Blu-ray. But recently, TV immortality has assumed a new form. Networks and streaming services are increasingly pulling from the past to flood the airwaves with reboots and remakes.

    Before Roseanne Barr’s racist tweets led to the cancellation of her show, the reboot of “Roseanne” was one of ABC’s most popular programs. Last year, “Will & Grace” returned in 2017 to impressive ratings, while “Full House” reappeared on Netflix as “Fuller House” in 2016.

    We’ve also seen reboots and remakes of “The X-Files,” “Twin Peaks” and “Arrested Development,” along with remakes of “Dynasty” and “Lost in Space.”

    This upcoming fall season, a reboot of “Murphy Brown” and remakes of “Cagney & Lacey,” “Magnum P.I.” and “Charmed” are set to premiere.

    Nostalgia has always sold. But changes to today’s television landscape have created the perfect conditions for the reboot to thrive.

    The allure of comfort

    At a practical level, reboots make sense.

    When a fan of the original “The X-Files” tunes in for the reboot, they’re mostly familiar with the characters’ nuanced histories. For this reason, the show’s writers don’t need to lay as much groundwork. The skeleton’s already in place, and they can pick up where the characters left off and write new storylines.

    But for audiences, there’s something deeper at play: nostalgia and the comfort of what’s familiar.

    Media scholar Ryan Lizardi has studied the role of nostalgia in advertisements and television programming. He explains how TV commercials will often incorporate familiar characters, famous soundbites and classic hit songs to trigger viewers’ memories, which can transport them to moments of romance, comfort and wonderment from their pasts. The effect is powerful, and it can instantly forge an emotional connection with an audience.

    For example, in the weeks leading up to the premiere of “Fuller House,” actors John Stamos, who played Uncle Jesse on the original show, and Candace Cameron Bure, who played DJ Tanner, appeared on talk shows to promote the series.

    Culture and media scholar Kathleen Loock wrote that these promotions, by “repeatedly triggering memories of (the original) ‘Full House,’” were able to convey “the comfort of the familiar.”

    It’s also why a revived series will often use the original theme song or a version of it: The music prompts viewers to recall a bygone time when they watched the original show.

    Bridging today’s fragmented audiences

    But why is this happening now? Why weren’t shows from the 1970s being rebooted in the 1990s?

    Changes in how we watch television have reshaped the TV business. No longer tethered to a standard broadcast schedule, viewers have a much larger selection of shows to choose from – and can watch them however they want, whenever they want.

    As a result, audiences have fragmented, gravitating to niche shows that cater to specific interests. There are fewer prime-time blockbuster hits.

    But revived television series can actually bridge these fragmented audiences. They represent an established brand from the old days of television, and are recognizable to huge swaths of viewers. Fans of the original series are a preexisting base of viewers that don’t need to be enticed into watching the first episode. And younger, first-time viewers can be lured to the series through media coverage, trailers and advertisements.

    As TV critic James Poniewozik writes, “The old hits had far bigger audiences than today’s and so are part of our communal memory.” For this reason, “they have a better chance of reuniting that mass audience.”

    The ratings of these reboots and remakes do tend to decline not long after their premieres.

    This may suggest that reboots and remakes aren’t paying off. But as television studies scholar Julia Leyda notes, ratings matter less than they used to. She points out how “Arrested Development” was initially canceled by Fox for low ratings. However, its ratings from 2006 would actually be considered quite good in today’s environment of fractured viewership.

    Perhaps that’s one reason why the show returned this past spring after a five-year hiatus.

    Refreshed for a 21st-century audience

    When older shows do return, the characters might stay the same. But the world around them has changed.

    Popular sitcoms – “All in the Family,” “The Jeffersons,” “Good Times” and “M.A.S.H.” – tend to address some of the most pressing social issues of their times: class, race relations, war and gender issues.

    But what mattered politically and culturally in the past matters less to viewers today. So when a revived series makes a return, it often highlights new social issues to appeal to a contemporary audience.

    Roseanne” returned to TV in March with two back-to-back episodes seen by over 18 million viewers. The family’s politics was a storyline that received a lot of national attention, with the title character having voted for President Donald Trump.

    “Roseanne” did what a lot of effective sitcoms do: explore a major cultural issue and show how everyday people are grappling with it. Viewers had mixed feelings about the show’s political narrative. But no matter one’s political views, the series captured and fueled a major conversation in contemporary society.

    Likewise, the 2016 election sparked the return of “Will & Grace,” with the original cast getting together for an episode that focused on campaign issues like the border wall, gun rights, education and social class.

    By incorporating contemporary social, cultural and political issues, reboots and remakes are able to anchor an older show in the present zeitgeist.

    FX Networks CEO John Landgraf has dubbed our current television moment “peak TV.” In an effort to appeal to as many different audiences as possible, shows and their writers are able to experiment and innovate in ways they never could have imagined a couple of decades ago.

    But there’s also clearly a demand for comfort and nostalgia, and there are enough viewers who want to return to Will’s familiar kitchen and watch kids of the Tanner family navigate life as adults to make the reboot a niche of its own.

    Join the conversation about this story »

    NOW WATCH: Learning to celebrate failure at a young age led to this billionaire's success

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    Emily Katja Herbers Westworld season two HBO

    Warning: Major spoilers ahead for Sunday's episode of "Westworld."

    HBO's "Westworld" turn a dark turn on Sunday's episode, "Vanishing Point," when William fell deeper into his paranoia thanks partly to Ford's manipulations. The devastating misunderstanding led him to shoot and kill his own daughter, Emily, because he believed she was a host controlled by Ford. 

    But throughout the episode, we also see William feeling around in his own arm — just as Dolores did on the first season when confronting her own reality — as if he thinks he could be a host himself.

    Though "William is a host" is one of the more popular fan theories this season, "Westworld" star Katja Herbers (Emily) isn't buying into it. 

    "He even feels around for a portal in his arm all the time, so I think he's really losing his mind," Herbers told INSIDER. "I don't think he is a host. The moment of him as a human, shooting his human daughter is more powerful for both people."

    Keep reading to learn about why Herbers disagrees with this theory, and why filming her death scene required little acting thanks to the painful fake blood mechanism used on set. 

    Kim Renfro: Walk me through your first reaction to getting that script and realizing what was going to happen to Emily?

    Katja Herbers: I was simultaneously pretty heartbroken but also very excited that this happened for the Man in Black's storyline. There's nothing worse he could've done than to kill his own child, so I think it's an amazing turn for the show. I'm more excited than I'm heartbroken because I think it's just the worst thing he could've done.

    William Man in Black Westworld Season 2 photos 2

    Renfro: Why do you think this is fitting for William's storyline?

    Herbers [speaking from her character Emily's perspective]: Well, my whole journey coming into Westworld was to get my dad out of Westworld [and] to get him certified insane and lock him up. I've read his profile so I know the kind of man he is in the park, and I take that even further and understand that this might not just be his personality in the park — he's been hiding behind being this kind, generous person in the real world.

    I don't think I ever thought that he would be that insane. I think he's basically responsible for my mother's death. In an indirect way, I think he did kill my mother. And I think I'm part of that as well — I feel very guilty about it. And I never would have imagined that he would be able to actually kill his own daughter, and that he would be that insane, that he would think that I'm actually Ford.

    I would have never gone for that profile card [...] and it's just insane. It's so much, it's heartbreaking.

    Emily Stubbs Westworld season 2 HBO

    Renfro: What it was like working with Ed Harris that day?

    Herbers: It was really, really wonderful. He's just an incredible human being and an amazing actor, and he was always so entirely present. He was always so there for me in the scenes. I loved him very much while we were filming it, although I hated [William] so much, but I just loved him for being there and for never dropping the ball and always being connected. It was very special.

    And then he shot me [laughing]. I had about 40 squibs inside that jacket and luckily we only had to do it once, but that was insanely painful. I have bruises all over my body from that.

    Renfro: Can you explain what squibs are?

    Herbers: It's these little pockets of fake blood that they control with the remote control and then that explodes on your body basically, so it's painful. I wouldn't recommend it. You don't have to do much acting, because it actually really hurts and you want to fall down.

    Emily William Westworld season two episode nine HBO

    Renfro: "Westworld" is a show where death doesn't mean what it might on another series, because there are all sorts of ways in which your character could come back. Do you have any indication that we might see more flashbacks or a simulation version of Emily in the future?

    Herbers: It would be great, and I would love that, but I don't know. I guess I've been to the park since I was a little girl, so I'm sure there is a copy of me somewhere that they could put into a body. They could also put [Emily] into a different body, if they don't like me as an actor [laughing]. Anything's possible on this show.

    Renfro: If you were to return in any of those capacities, is there a certain character that you would like Emily to interact with that you didn't get to on this season?

    Herbers: Probably almost every actor on the show, really. I have a very strong personal connection with Shannon Woodward [who plays Elsie], but we are more comedic together, so I don't know if there's like a funny bit that could happen. Probably not.

    I would obviously love to work with Anthony Hopkins, but I don't know. It would be interesting.

    Dr. Robert Ford Westworld

    Renfro: That would be interesting, given how William and Ford's relationship is so contentious and combative, and so seeing William's daughter in the middle of that could be fascinating.

    Herbers: It would be interesting because basically I could hold him responsible for my father killing me, if he thought I was him. [Ford] f----d with his brain so terribly.

    Renfro: Do you also think Emily could hold Ford responsible for Juliet's death as well? Because he was the one who put that profile into William's hands?

    Herbers: I don't think it's the profile that caused [her death by suicide]. I think the profile is proof of why she was in that state in the first place. I think she always knew William wasn't who he pretended to be in the real world, and he's been gaslighting her her whole life. She turned to alcohol, I'm sure she has an addictive personality, because not everyone turned to alcohol, but I don't think this would have been her fate had her husband not gone to the park three months of the year and been obsessed with Dolores and done all these terrible things.

    William Westworld season two Ed Harris

    I think she's always felt that darkness, and he's always denied it, and I [Emily] has always taken his side. So I don't think Ford's responsible for that. I don't think everyone who goes to the Westworld comes out as the Man in Black.

    Renfro: You said William went to the park for three months of the year —

    Herbers: I don't know if that's true, that's just what I had at the back of my mind when I was playing the role. I thought, "This is probably a dad who takes off." Remember on episode six when he doesn't really remember [if it was Emily or Juliet who] liked the elephants? 

    Emily Westworld Season two HBO

    I saw there were some fan theories saying that must have been a fidelity test. I don't think that's the case. I mean, I have no authority to speak on it, so I don't know, I can just tell you what I personally thought. I just think he's just been a very absent father and I've for some reason put him on a pedestal.

    Renfro: It's been really interesting to see the fan theories crop up around William being a host. Because it seems like his paranoia is making William himself think he could be a host, even though the scanner the QA people used cleared him.

    Herbers: Oh yeah. In episode nine he even feels around for a portal in his arm all the time, so I think he's really losing his mind. I don't think he is a host. The moment of him as a human, shooting his human daughter is more powerful for both people.

    So for my understanding [Emily and William] are both real humans. Until somebody else tells me that's not true, you know? I don't know. They don't tell me.

    The second season finale of "Westworld" airs Sunday, June 24, at 9 p.m. ET. For more on "Westworld," our complete timeline of every major event on the show, follow INSIDER's coverage here.

    Sign up here to get INSIDER's favorite stories straight to your inbox.

    Join the conversation about this story »

    NOW WATCH: This $530 Android phone is half the price of an iPhone X and just as good

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    Juliet season two episode nine

    Warning: Minor spoilers ahead for Sunday's episode of "Westworld."

    HBO's "Westworld" amped up its star power once again as Hollywood icon Sela Ward joined the show to play Juliet, William's late wife, in a series of tragic flashbacks. We watched as the night of Juliet's death by suicide unfolded, revealing the darkness that lived in her marriage to William.

    Though "Westworld" fans had seen a younger version of Juliet (played by Claire Unabia) in flashbacks with the younger William (Jimmi Simpson), this was our first time seeing the Juliet who was alive just about a year before the events of the first season took place

    "It's challenging when you're filming the middle of a long history of a relationship," Ward told INSIDER when discussing her task of bringing a new version of Juliet to life. "You're in the middle of all of the years of pent up frustration and neglect and emotion between these two people. And that's challenging to just really be thrown in the middle of a storm so to speak. But that's why it was fun."

    Keep reading to learn about Ward's approach to the character of Juliet, why filming the episode's scenes out of order was particularly difficult, and more.

    Kim Renfro: How did you first find out you were going to be a part of "Westworld" this season?

    Sela Ward: Just your basic old offer to the agent [and they asked] if I was interested in the part. I looked at the role of the character and I thought, "Oh, how fun!" I thought that the part was really juicy and challenging, and I love that at this point in my career.

    It has to be interesting to me creatively and have a little bit of challenge in there. It was thr sort of a role where you're thrown into the fire. You don't really have a lot of history for the part, but it was just chock-full of juicy emotional stuff to play, which I loved.

    Renfro: What were some of those juicy aspects of Juliet's character that drew you in?

    Ward: Well it's really a part about a relationship. And there's wonderful universal themes about loneliness within a marriage, neglect within a marriage, and here is a woman who resorted to alcohol and has a drinking problem, who feels very detached and unloved.

    When you've lived enough life and been in enough relationships, you understand what that looks like and what that feels like, so it's an interesting portrait to always play. At that point it was intriguing to me.

    Juliet William Westworld season two episode nine Sela Ward

    Renfro: Was there anything that you were told about Juliet that didn't either make it explicitly into the episode or that you think people may not realize? 

    Ward: I didn't have a lot of information about the character. And there was nothing withheld from me about her. I don't know their past other than what you know from watching the show. That's all we know. So I had to fill in all those blanks for myself as an actor which, as you often have to. So it's a pretty straightforward episode in terms of material and in terms of their relationship and what that piece was about. 

    Renfro: What were some of the ways that you filled in Juliet's past? 

    Ward: Well you have to really fill in everything as an actor. You just make specific choices. They're not necessarily right or wrong, but the material and the writing informs everything. This is the first time you see Ed Harris' character not in the park. So you really have a blank canvas to work with because none of the audience have seen him in this part of his life.

    It's gives information that the audience doesn't have yet. It's an altered universe from the park, right? In this case, it's the strange universe outside of the park. And you really get to see who he is in his marriage, in his "real" life. It's a wonderful portrait, I think, that adds to the complexity of his character and informs the show so much.

    William and Juliet Westworld season two episode two

    Renfro: You have several intense scenes on this episode. What was it like filming with Ed Harris and your overall experience on set that day?

    Ward: It was no different than any other job, really. Ed likes to stay in character. He's more of a method actor, and I respect that. In some ways that helps when it creates an atmosphere that makes it almost easier to be in that particular relationship. So I had a great time working with him. I think he's a very gifted actor, and I appreciate actors who are accomplished and take it very seriously. And [those who] are also giving actors — not all are but he is. It was a great experience for me. I found all of the work that day challenging and fun.

    Renfro: What was a specific aspect of it that was particularly challenging? 

    Ward: It was challenging because it wasn't shot in order. So the first thing we shot was the end of the scene when [William] is pulling the covers over me and I discover the data card and all of that. So walking into that room at the end of the scene, [it was] the end of all of the emotional confrontation.

    As an actor, when you go out of sequence like that it's extremely difficult because you have no idea where you are emotionally because you haven't played the scene in a linear fashion. So I found that very challenging, and I learned a lot from that, actually. I learned a lot from watching [the episode] and how it got put together. But that's a very difficult thing to do. 

    William Westworld season two Ed Harris

    Renfro: What was your first reaction to seeing the completed episode?

    Ward: That this show has a spectacular editor. I was very impressed with Ron Rosen's editing. And editing is huge. People don't really think about that. Editors are behind the scenes and in a way they are the unsung heroes in our industry. But, boy, did they make a difference.

    I remember working on "The Fugitive" with Harrison Ford years ago. And the way the script was shot, it was all in linear time. We're at the party, we go home, he gets a call, he has to go to the emergency room, the one-arm man comes in — it's all linear. But the editor chose to switch it around so that his wife was already dead and then everything was told in flashbacks. 

    Sela Ward Harrison Ford The Fugitive red carpet 1993 AP images

    That was an idea that the editor had, and it completely transformed the film. So I'm always amazed at their contributions. I think "Westworld" has a fantastic editor [Ron Rosen], and I loved how he put my show together and it was so well done. He's a great storyteller.

    Renfro: Do you know if we'll see you again in this role of Juliet on the series?

    I think you have to ask the producer. I have no idea. But it would be fun. I enjoyed it. I think the show's fantastic. I love psychological portraits of the human being and delving into our psyche. And it's a lot of exploration of why humans are predisposed to violence, and I find that fascinating. So I think that's why it's really struck a nerve with the audience and why it's a remarkable show. It's one of those that's so unique and very creative. So they've got a winner for sure. 

    The second season finale of "Westworld" airs Sunday, June 24, at 9 p.m. ET. For more on "Westworld," our complete timeline of every major event on the show, follow INSIDER's coverage here.

    Sign up here to get INSIDER's favorite stories straight to your inbox.

    Join the conversation about this story »

    NOW WATCH: The world is running out of sand — and there's a black market for it now

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    Westworld season one Dolores episode nine Vanishing Point HBO John P. Johnson

    Warning: Spoilers ahead for "Westworld" season two, episode nine, "Vanishing Point."

    The penultimate episode of HBO's second season of "Westworld" came out guns blazing with a horrifying storyline centered on the increasingly paranoid William. After he shot and killed his own daughter Emily, believing her to be a host Ford was using to mess with him, William seemed more uncertain than ever about the reality of his surroundings.

    Is he a host? ("Westworld" actress Katja Herbers tells INSIDER that it's not likely). What's the deal with his obsession with his forearm? What the heck is the Forge?

    Let's see if we can't answer some of these important questions before heading into the second season finale. Keep reading for a look at 10 details you might have missed on Sunday's "Westworld."

    Several times throughout the episode, including the flashbacks to a time before Ford gave William his Westworld profile, William touched his forearm.

    This seemed to imply that William has been growing increasingly more paranoid long before Ford's death and the beginning of "The Door" game. But when Ford was placed inside the Cradle and able to control hosts and speak to William, things certainly got worse for our Man in Black.

    William's obsession with his forearm mirrors a critical scene with Dolores on the first season.

    On season one, episode five, "Contrapasso," Dolores entered a room only to discover "herself" (it was really her subconscious mind projecting itself). 

    "What's wrong with me?" Dolores asked her doppelganger across the table.

    "Perhaps you are unraveling," the dress-clad Dolores replied while looking pointedly at Dolores' arm.

    Dolores then saw a small thread poking out of her forearm, right at the wrist. She pulled on it, revealing a wire coming out of her body. 

    Then there's the fact that William's scan from the Delos QA showed up as "clear"— indicating that he's definitely human.

    We knew from the first season and Maeve's escape plan that each host has an explosive device embedded in their spine that detonates if they leave the park perimeters. Maeve's workaround for this was having her body completed destroyed in a fire inside the park, and then Felix and Sylvester rebuilt her without the explosive.

    This leaves open the possibility that William (if he is a host) is a type of build designed to deceive any test the QA folks have set up — like that scanner — and continue passing as human.


    See the rest of the story at Business Insider

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    Disney Presents Nintendo Switch Family Showdown

    • Disney and Nintendo are collaborating on a new TV show dedicated to the wildly popular Nintendo Switch console.
    • The show is named "Nintendo Switch Family Showdown," and it's set to debut this summer.
    • "Nintendo Switch Family Showdown" has four families competing against each other in a variety of Nintendo Switch games.
    • It's the latest example of Nintendo's regained foothold as the leader in video games.

    Nintendo and Disney are massive unto themselves, which is why it's such a big deal that the two entertainment giants are teaming up on a new show: "Nintendo Switch Family Showdown."

    As the name implies, the show is a competition between four families using the Nintendo Switch game console.

    The show will employ a number of major Switch games for the competition, such as "searching for collectibles in 'Super Mario Odyssey,' competing in head-to-head matchups in 'Mario Tennis Aces' and participating in dance-offs in 'Just Dance 2018.'"

    It's set to debut this summer on the Disney Channel and Disney XD; it will also be streamed on the DisneyNOW app.

    Mario Tennis Aces

    The partnership between Disney and Nintendo on "Nintendo Switch Family Showdown" is the latest example of Nintendo's return to dominance in video games. 

    Just a few years ago, Nintendo's Wii U console was languishing — few major games were exciting people, and consumers weren't buying the Wii U. That all changed with the launch of Nintendo's Switch console in March 2017.

    The Switch combines a home console with a portable console. You can play it at home on your TV, you can play it as a handheld in the backseat of a car — you can even prop it up with a built-in stand and use it like a standalone game console, with each Joy-Con controller sliding off and becoming two individual gamepads.

    Between the novelty of the Switch concept, a relatively low price ($300), and a barrage of killer games from Nintendo's top creative talent, the Switch quickly became a massive hit. A little over a year after launch, and Switch sales are showing no signs of slowing down. 

    And now, with "Nintendo Switch Family Showdown," Nintendo has yet another mainstream hook with the Switch.

    SEE ALSO: The winners and losers of E3 2018, the biggest video game event of the year

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    Outwit, outlast, outplay. Or, in this case, out-knowledge you on "Survivor" facts you definitely didn't know. With its 37th season premiering in fall 2018, this 18-year-old show has no plans for slowing down anytime soon.

    Dozens of remote locations around the world, an eclectic cast of characters, and intense physical and mental challenges have proved to be the perfect combination for this ever-popular CBS production. And, while most of what you see on camera is representative of the show itself, there are plenty of "Survivor" secrets you never knew.

    There's a lot you don't see when the cameras stop rolling.

    Although technically reality TV, there's a lot you don't see when the cameras stop rolling. For instance, after host and producer Jeff Probst tells the tribes about the daily challenge, he and challenge creator John Kirhoffer walk through the challenge with each tribe, giving them the opportunity to strategize before the challenge actually begins.

    "Survivor" is popular worldwide.

    Outside of the US, there have been "Survivor" franchises in 51 different countries, including Vietnam, Turkey, and Brazil to name a few.

    "Survivor" premiered in the US in 2000, but it took a long time for that debut.

    The idea for "Survivor" was first created by producer Charlie Parsons in 1992 for a UK production company, but the first ever "Survivor" series to debut on TV was in Sweden. The show, which first aired in 1997, was called "Expedition Robinson."

    See the rest of the story at Business Insider

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    The Expanse

    Social media is good for TV fans.

    In the past month, social media has helped saved three TV shows as a result of desperate fans tweeting and campaigning to save them. 

    It started when Fox canceled the beloved "Brooklyn Nine-Nine" due to poor ratings, and then NBC saved it less than two days later. More recently, another Fox show, "Lucifer," got canceled but saved by Netflix. 

    But not every show with rallying fans is so lucky. 

    Here are all the canceled TV shows in 2018 that got saved by another network, along with a few shows with passionate fans that haven't gotten saved:

    SEE ALSO: The best and worst TV series finales of all time, from 'The Americans' to 'Seinfeld'

    "Lucifer"— saved by Netflix after getting canceled by Fox

    "Lucifer" was canceled by Fox after three seasons in May. The series follows Lucifer Morningstar (the Devil). He is bored in hell, so he abandons it to go to Los Angeles where he runs a nightclub and becomes a consultant for the LAPD.

    Fox said "Lucifer" was canceled due to poor ratings, but its devoted audience made enough noise that both Netflix and Amazon were in talks to bring it back for a fourth season. In the end, Netflix took it.

    "The Expanse"— saved by Amazon after getting canceled by SyFy

    Critics gushed over the third season of "The Expanse," a sci-fi show set on colonized planets hundreds of years into the future. In May, SyFy canceled the show.

    But critics and fans rallied behind it and campaigned to save it, with over 130,000 fans signing a petition. The campaign even involved fans flying bannered planes over the Amazon headquarters, and "Game of Thrones" author George R.R. Martin sending an email in support of the show to Amazon CEO Jeff Bezos, according to Deadline.

    In late May, Bezos announced that Amazon picked it up for a fourth season. 

    "Brooklyn Nine-Nine"— saved by NBC after getting canceled by Fox

    Devastated "Brooklyn Nine-Nine" fans instantly took to social media to express their sadness about Fox's cancellation in May. Less than two days later, NBC announced that it was bringing the Brooklyn set cop comedy back for a sixth season during the 2018-2019 season.

    "It was the middle of the night, I woke up to my phone glowing and I'm wondering what is going on," star Terry Crews told Business Insider about finding out the show had been saved. "I got all these texts with everyone saying, 'We're picked up!' I jumped out of bed. I felt like I was one of Madonna's kids. 'I get to live in the mansion now, she picked me!'"

    See the rest of the story at Business Insider

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    arrested development

    Netflix has been doing nostalgia better than just about anyone in recent years.

    As the company has leaned into making its own shows, a significant piece of its strategy has been reviving fan favorite series like "Full House,""Arrested Development," and "Gilmore Girls." 

    In its latest revival, Netflix released the fifth (and second Netflix-original) season of "Arrested Development" last month.

    Given Netflix's love of data, a commitment to nostalgia makes sense.

    If you can see that people are continuously binge-watching "Gilmore Girls," why not make a new season of it? You already know there's an audience for it. (That seems to have translated into viewership, at least for the first seasons of the "Gilmore Girls" and "Full House" revivals).

    But are these revivals any good?

    To try and answer that question, we turned to reviews aggregator Rotten Tomatoes, and looked at what the critics had to say. Here's a list of shows Netflix has brought back from the dead, ranked from worst to best in critical reception, along with a short description. We excluded children's shows, and we split the two versions of "Wet Hot American Summer" for clarity.

    Nathan McAlone contributed to an earlier version of this post.

    SEE ALSO: All 65 of Netflix's notable original shows, ranked from worst to best

    12. "Fuller House"— 33%

    Critic rating: 33%

    Audience rating: 73%

    Previous network: ABC

    Netflix description: "The Tanner family's adventures continue as DJ Tanner-Fuller shares a home with her sister Stephanie and friend Kimmy who help raise her three boys."

    11. "The Killing" (Season 4) — 47%

    Critic rating:47%

    Audience rating: 80%

    Previous network: AMC

    Netflix description: "Seattle homicide detectives Sarah Linden and Stephen Holder are deeply affected by the murders they investigate in this dark, acclaimed crime series."

    10. "Arrested Development" (Seasons 4 and 5) — 71%

    Critic rating:75%

    Audience rating average: 89%

    Previous network: Fox

    Netflix description: "It's the Emmy-winning story of a wealthy family that lost everything, and the one son who had no choice but to keep them all together."

    See the rest of the story at Business Insider

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  • 06/18/18--09:06: Announcing Insider TV
  • Business Insider Group Shot[Today, Insider Inc. announced the upcoming launch of Insider TV. Below is our announcement press release.]

    Announcing Insider TV

    With the launch of its first OTT apps, Insider Inc. will offer TV advertisers cross-platform video digital distribution with desirable demographic and powerful reach  

    June 18, 2018 – New York, NY – Insider Inc., the parent company of Business Insider and its lifestyle sibling INSIDER, today announce the upcoming launch of Insider TV, a groundbreaking new way for advertisers to engage with today’s increasingly elusive millennial audience — reaching them how and when they consume content, on whatever device or platform.  

    In the fall, the company will launch its first OTT apps for popular video platforms such as Roku, Apple TV, and Amazon Fire. Insider TV will make it easy for advertisers to place video ads across an expanding array of platforms and sites including YouTube, Twitter, MSN, and Business Insider. Insider TV will continue to roll out on additional platforms in response to rapidly changing video consumption habits.   

    “Digital is the new primetime TV, and our goal is to be ready for the radical shift in how video ads will be purchased as well as consumed,” said Pete Spande, CRO of Insider Inc. “Linear TV continues to lose ground as new audiences are accustomed to viewing the content they want in a new way. As a result, we believe the industry is in the process of rethinking how it buys video ads, and we’re excited to help pave the way forward.”

    Insider Inc. has more than 3 billion video views each month, making it one of the world’s leading producers of video content. Per Nielsen’s Digital Content Ratings (DCR), Insider Inc. reaches an average of 19 million US-based viewers each day, which includes nearly half of all US-based millennial men and two-thirds of all millennial American women.

    Spande continued: “Because Insider TV is freed from the constraints of linear TV — with its rigid 30-minute and full-hour programming structure — its video content itself can determine video length. This programming flexibility makes a lot more sense in terms of how content is consumed today, especially on handheld devices.”

    Insider Inc. regularly produces hugely popular videos that are shared and viewed by many tens of millions of viewers. 

    Insider TV will offer advertisers a unique way to buy today’s highly desirable digital-native audience — the “missing demo” — at scale, while ensuring their ads appear in a brand-friendly environment. In terms of reach, the Insider TV platform will rival that of the biggest traditional TV networks.

    About Insider Inc:

    Insider Inc. is the publisher of Business Insider and INSIDER, a pioneering lifestyle brand. Launched in 2007, Business Insider, with 17 global editions, is the most popular business news brand in the world in terms of reach. Insider Inc. properties reach more than 350 million unique monthly visitors across all platforms and generate more than 3 billion video views each month. The company also offers a subscription research service, Business Insider Intelligence (BII), which provides in-depth insight, data, and analysis of digital topics, including mobile, social, Internet of Things, and FinTech. Every year the company hosts IGNITION, one of the industry’s most influential media and technology conferences. Insider Inc. is a subsidiary of Axel Springer SE.

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    Jon Bernthal as Shane Walsh in The Walking Dead

    Get ready for a fan favorite to make his way back to "The Walking Dead" next season. 

    TVLine is reporting Jon Bernthal will appear on the ninth season of the AMC show.

    Bernthal, who played Rick Grimes' best friend Shane on the zombie series in its first two seasons before being killed off, was recently spotted on set of the zombie series, leading many to wonder whether or not the actor may return. 

    The news has many fans surprised and confused. 

    After all, the character was killed off on season two.

    Not everyone is happy about it. It sounds like a ratings play to some. 

    So, how could Shane return?

    It's been heavily reported — and seemingly confirmed by a "Walking Dead" episode director— that Andrew Lincoln will be leaving the show after next season. 

    Bernthal may return as a hallucination or flashback in a farewell to Rick's character while leaving the show.

    According to, Bernthal will appear on one of the season's first nine episodes.

    AMC declined to confirm to INSIDER whether or not Bernthal will return. 

    You can follow along with our coverage of "The Walking Dead" here

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    farrah teen mom

    It's been almost a full decade since "Teen Mom" premiered on NBC, bringing Maci Bookout, Farrah Abraham, Catelynn Lowell,  and Amber Portwood back into fans' homes after they were introduced on "16 & Pregnant."

    Since then, we've seen them (and their families) change and grow — including two spinoff shows, featuring even more moms —  but the cast's lives aren't always exactly what they seem like on TV. Babies have been born, some of the stars have been married, divorced, and married again, and now, the fourth wall has been broken and we get to see the moms interact with their producers and the crew like never before.

    It doesn't seem like "Teen Mom" is going anywhere anytime soon, and that's partly because there's so much going on behind-the-scenes.

    It wasn't meant to last this long.

    Originally, "Teen Mom" was meant to be a schedule filler show, but when it became such a massive hit, MTV ordered more episodes.

    When cast and crew shared the history of the show with Cosmopolitan in 2017, former MTV director of programming Tony DiSanto pitched "Teen Mom" as a way to fill time until another season of "16 & Pregnant" was filming, but as we all know now, it took off from there.

    Tyler and Catelynn Baltierra used to have a filming curfew.

    Cosmo's oral history also revealed that in order to keep their lives as teen reality stars normal — as if that's possible — Catelynn and Tyler Baltierra, who are now married, were only able to film after school and had to finish up early so that they'd still have time to do their homework. It looks like it paid off, because they both did get their high school diplomas (and they're still together to this day).

    "I can remember, during the first two seasons, only being able to film with Catelynn and Tyler from 4 p.m. to about 8 p.m. because [Tyler's mom] Kim had a rule that they were not allowed to film past 8," producer Kirsten Malone (who you might know as KiKi from the show) said. "They had school and had to do their homework, which I thought was fantastic. It did not make our jobs easy, but we did it, and we're still super respectful of the kids and their schedules."

    The cast has gotten super close with their producers.

    As we've seen on both "Teen Mom OG" and "Teen Mom 2," the cast has spent so much time with their producers that they're practically family at this point, and that actually makes a lot of sense. They're essentially co-workers, right? And over the years, they've become friends — but that doesn't mean they don't have to keep boundaries in mind when it comes to the personal crossing over to the professional.

    "I know I feel much more comfortable because whatever I'm talking about on camera, I've probably already talked to [my producers] about it," Maci Bookout told Cosmo. "It just takes everybody remembering there's a difference between our friendship relationship and our professional relationship. But we've all done this for so long that we are very aware of times when one relationship needs to override the other one."

    See the rest of the story at Business Insider

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    Tiffany Haddish

    • Tiffany Haddish is the host of the 2018 MTV Movie and TV Awards.
    • She is the first black woman to host the show.
    • "It's been a year of firsts for black people," Haddish said in her opening monologue. "I'm the first black woman to host the MTV Movie and TV Awards, 'Black Panther' is the first African American movie to make $1 billion, and 'A Quiet Place' is the first film to scare black people out of talking in movie theaters."
    • Haddish also kicked the show off by addressing audience members including Zendaya, Nick Jonas, and, of course, the Kardashians.
    • Haddish also summed up the general appeal of the awards show: "I’m glad this show covers both TV and Movies because now I get to flirt with Chris Pratt from 'Parks and Recreationand Chris Pratt from 'Guardians of the Galaxy,'"she said. "Hey, Chris. I got a galaxy you can guard."
    • You can watch the rest of her hilarious monologue below. 

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    chloe x halle mtv movie and tv awards 2018.PNG

    • Sibling duo Chloe x Halle took the stage to perform at the 2018 MTV movie and TV awards
    • They wore sparkling white jumpsuits and performed a medley of their two tracks, "The Kids Are Alright" and "Warrior."
    • The young stars aren't strangers to performing for large crowds, considering that they have toured with Beyoncé.
    • You have also probably seen them in Bey's "Lemonade" visual album. 
    • Watch the video below.


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    black panther

    The 2018 MTV movie and TV awards brought together stars from the most popular films and series, from "Black Panther" to "13 Reasons Why." With "Girls Trip" star Tiffany Haddish hosting the festivities, it was certainly a memorable show.

    Some stars are first-time nominees while others are award show veterans. This year's show was taped Saturday at California's Barker Hangar and aired Monday on MTV.

    Marvel’s "Black Panther" wa the big winner of the night, taking home four awards. Meanwhile, “Stranger Things” won three awards. “Keeping Up With the Kardashians,” “Love, Simon,” “IT,” and “Wonder Woman” took home golden popcorn statues also.

    Keep reading to find out who every who was nominated and ultimately took home the coveted golden popcorn at the 2018 MTV movie and TV awards. (Winners are in bold).

    Generation award

    The generation award is given each year to one outstanding talent for their noteworthy contributions for film and TV. 

    *Chris Pratt* has captured the hearts of audiences on both TV and film for the past 25 years in iconic roles on "Parks and Recreation," and in "Jurassic World,""Guardians of the Galaxy," and most recently "Avengers: Infinity War."

    Trailblazer award

    The trailblazer award recognizes game-changing creators with fresh and fearless voices in entertainment.

    *Lena Waithe* has made groundbreaking contributions on and off the screen, including making history as the first woman of color to win an Emmy for “outstanding writing in a comedy series.” 

    Best movie

    "Avengers: Infinity War"

    *"Black Panther"*

    "Girls Trip"


    "Wonder Woman" 

    See the rest of the story at Business Insider

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    mtv movie tv awards michael b jordan chadwick boseman black panther wakanda salute

    • Chadwick Boseman had said some comments that led people to believe that he was over doing the Wakanda salute from "Black Panther."
    • During his acceptance speech for best villain at the MTV Movie and TV Awards that aired Monday, Michael B. Jordan jokingly said that Boseman wanted him to reiterate those feelings.
    • “Chadwick Boseman, he personally asked me to ask y’all to stop asking him to say ‘Wakanda Forever’ out on the streets,” Jordan told the crowd.
    • Boseman also took home the awards for best hero and best performance in a movie.

    Chadwick Boseman needs a break from doing the “Wakanda Forever” salute -- at least according to Michael B. Jordan.

    Jordan accepted the award for best villain at the MTV Movie and TV Awards -- which were taped on Saturday but aired on Monday -- and joked that his “Black Panther” co-star is getting really tired of people asking him to bust out the Wakanda Forever salute from the hit Marvel movie.

    “Chadwick Boseman, he personally asked me to ask y’all to stop asking him to say ‘Wakanda Forever’ out on the streets,” Jordan told the crowd. “Y’all taking this forever thing a little too seriously.”

    After Jordan made the plea to fans, the camera panned back to Boseman, who couldn’t contain his laughter.

    It’s difficult to tell if Jordan was really just joking since fans noticed that Boseman, who plays T’Challa in the Marvel franchise, seems to have grown visibly weary over time when asked to perform the salute at what seems like every promotional event he’s had to attend since “Black Panther” was released in February.

    Boseman, who took home the awards for best hero and best performance in a movie, previously told Jimmy Kimmel that fans have been completely obsessed with getting him to do the salute.

    “If I don't want to do it, I have to not leave the house, pretty much," he said. "I've been chased in cars."

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    niall horan donald trump

    • Niall Horan stopped by CBS' "The Late Late Show" on Monday to perform "Slow Hands."
    • The singer also recalled an interaction with President Donald Trump that took place almost six years ago.
    • Horan said that One Direction was staying at a Trump hotel in New York City, and Trump asked the band to meet his lawyer's daughter and take a photo with her.
    • Since the band didn't want to do any meet and greets, Horan said that Trump threatened to revoke their access to the hotel's garages — so they left the hotel.  
    • Watch the video below.


    Niall Horan claims that President Donald Trump once tried to penalize One Direction after the British band declined his request to meet a fan. 

    Horan appeared on CBS's "The Late Late Show" on Monday and explained the incident, which he said took place at a Trump hotel in December 2012. At the time, One Direction was gearing up for a headlining show at New York City's Madison Square Garden.

    According to the singer, Trump told the band that they wouldn't be given access to the hotel's garage — which would allow them to enter and exit the hotel privately — after they refused to take a photo with his lawyer's daughter.

    Horan said that because One Direction didn't want to meet the fan, Trump told them that they would "have to stand in the front steps and take photos and basically promote the hotel."

    The "Slow Hands" singer added that they "just left" after being told that. 

    Horan also explained that One Direction didn't want to meet fans at the time because they were focused on preparing for their concert, which he called "the biggest show of our career."

    This isn't the first time a One Direction member has spoken out against Trump. In a 2017 interview with Wonderland magazine, Liam Payne also said that Trump kicked the group out of his hotel. It's a similar story to Horan's, but we're not certain they're talking about the same instance since Payne refers to possibly Trump's daughter and not his lawyer's daughter.

    "It was about [meeting] his daughter," Payne recalled. "He phoned up our manager and we were asleep. He said, 'Well, wake them up,' and I was like, 'No,' and then he wouldn't let us use the underground garage."

    Payne added: "Obviously in New York we can't really go outside. New York is ruthless for us. So he was like, 'OK, then I don't want you in my hotel.' So we had to leave."

    Since going their separate ways, all the members of One Direction have released music of their own. In October 2017, Horan released his debut solo album titled "Flicker."

    Representatives for Trump didn't immediately respond to INSIDER's request for comment.

    Watch Horan discuss Trump in the video below. 

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    Scott Knoll Integral Ad Science

    • Brands are increasingly retooling their digital ads with their own metrics instead of relying on industry standards, Integral Ad Science CEO Scott Knoll says.
    • After being acquired by private-equity firm Vista Equity Partners earlier this month, Knoll says he's interested in moving into the business of measuring TV and billboard ads.
    • He hasn't ruled out the possibility of taking the company public: "There's still the opportunity," even with shaky markets for ad-tech companies.

    The battle to own digital measurement and analytics continues, and investors are taking notice.

    A year ago Moat, Integral Ad Science, and DoubleVerify were three hot ad-tech firms pitching themselves to marketers as independent firms that could weed out problems in digital advertising like ad fraud, brand safety, and viewability, or the practice of tracking how many ads are actually seen by consumers.

    Oracle gobbled up Moat in April 2017, and DoubleVerify was acquired by private-equity firm Providence Equity Partners shortly after, leaving execs to wonder how long it would take before someone snatched up Integral Ad Science. Earlier this month, Vista Equity Partners acquired a majority stake in the company, valuing it at $850 million, according to Axios.

    Backed with a new owner, Scott Knoll, IAS' CEO and president, says he wants to move the firm's expertise in crunching digital stats to old-school advertising platforms like billboards and TV. He also wants to walk brands through creating their own custom stats that fly in the face of standards established by the Media Rating Council.

    "This movement toward custom metrics is really interesting to us, and brands are coming to us and saying, 'Can you help us figure out if three or five seconds is the right amount of time?'" Knoll says. "What we're finding is that creative has a lot to do with it. Depending on the creative, you have to make sure you have enough time to tell that story."

    Business Insider caught up with Knoll to talk about how brands are taking a stab at their own measurement, the company's acquisition, plans to go public, and how Facebook and Google are opening themselves up to allow for more third-party measurement.

    Lauren Johnson: Integral Ad Science was recently acquired by Vista Equity Partners. What does IAS get out of the deal?

    Knoll: There's a lot that we feel we have an opportunity to do, and that includes measuring more types of digital advertising, whether it be different channels like OTT, eventually television, outdoor, audio and everything else. Globally, we are in 13 countries but feel like we could be doing a lot more.

    We thought about different paths forward. We talked about an IPO openly, and then the opportunity with Vista came up and it was intriguing because it allowed us to remain neutral, which we were afraid a complete acquisition wouldn't do for us.

    Johnson: In terms of staying neutral, your competitor Moat is owned by Oracle. How is your company still a neutral platform for marketers?

    Knoll: It's completely neutral because we're not part of a bigger marketing cloud or anything—we're still very much a standalone company. There are some other acquisitions in the space, but we're going to remain independent.

    When you're bought by another organization that has a business in associated business, your road map changes. You no longer are executing on your vision; you're executing on the parent company's vision. What excites us about this opportunity is that it's still our vision, just with a company coming in who has a lot of expertise in helping companies grow effectively.

    Johnson: You've hinted that IAS is interested in going public. Is that something you're still exploring?

    Knoll: There's still the opportunity to go public. [Getting acquired] buys us more time to improve operations. Down the road, if we feel that going public still make sense, we can still do that because we're not part of another company.

    Johnson: The ad-tech space can be shaky for public companies, but you see an opportunity there.

    Knoll: I certainly feel like the company has the ability to go public based on all the metrics of a company looking to go public: size, growth, profitability. Having said that, there are a lot of factors that are out of our control, such as a stock market being a bear market, a bull market, or distaste for certain sectors like ad tech.

    Smartphones pictures

    Johnson: You mentioned interest in going into some of the nondigital forms of advertising measurement like TV and out-of-home. Why go into those areas and what can you bring from the digital world?

    Knoll: We're seeing this convergence where classic media is becoming digitized, which is totally changing that industry, allowing for better and more inventory. As these traditional media formats move to digital, there's a lot more ability to target and to ultimately measure ads. So we feel it's a big opportunity. People aren't going to buy television the way they buy television today — when it's digital, you're going to buy it based on targeting, which is going to acquire more verification.

    Johnson: There are a handful of big brands like Nestlé and HP creating their own viewability metrics instead of using the Media Rating Council's standard of viewability. How mainstream is that among other brands?

    Knoll: It's definitely becoming more mainstream, particularly in places like Europe. We have 20 brands in Europe that have their own, or are moving to, custom viewability metrics.

    There was a problem, and the problem is that a lot of ads never had a chance to be seen. We're trying, as an industry, to quickly solve the issue, and that's when the MRC came in and we developed guidelines around a minimum threshold level of viewability. That was good for weeding out the impressions that shouldn't count [as views].

    But the flip side of that is that there really is no quick way to solve viewability — viewability is time and the more you have it, the better off you are as an advertiser. That's the next kind of movement — we're going to move to trading on time because it's incredibly important and you can't just bucket it as good or bad.

    EU, European Union, France, Europe

    Johnson: Why are European marketers particularly interested in going that route?

    Knoll: There tends to be less inventory in Europe, so people have been focused on the quality over quantity. As an industry in the US, we're still so focused on quantity that we get caught up in metrics like trying to drive the most sales leads and conversions. In Europe, I think they've had to move more quickly partially because of privacy as people are preparing for GDPR and ePrivacy laws. They recognize that there are other things besides audience targeting they need to look at — one of those areas is the media itself. Ultimately, the common denominator of all quality media is compelling content that leads to longer views.

    Johnson: IAS is one of a handful of companies that plug into platforms like Facebook, Google, and Twitter to pull data and marketers have been asking for more granular stats and measurement from them for a while. What are marketers interested in getting out of these platforms that they're not getting now?

    Knoll: The open web we've been able to measure for a while now, and that's viewability, brand safety, and fraud. Advertisers want to have the same data on proprietary platforms that they have on the open web—they're spending the same or more money so they expect to have the same controls. That's something that has taken a little while to work its way through, but there's been a big change over the last two years from reluctance to allowing a third party to measure these platforms. We're not at 100% the same where we can measure everything the same, but it's certainly heading in that direction.

    Johnson: A year ago, there was so much interest in transparency and marketers getting access to this data. In light of Cambridge Analytica and privacy issues over the past few months, are you seeing brands push back on that a little and asking for platforms to hold their data a little bit closer to their chest?

    Knoll: From my vantage point, which is less around audience targeting and what data they have, we certainly haven't seen that — we've only seen more appetite. I think there's a recognition that advertisers want to know exactly what they're paying for what they're getting.

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