Seth Meyers took a swipe at President Donald Trump for following up several recent setbacks with a highly controversial budget proposal on the most recent edition of "A Closer Look."

"This week, we've seen Donald Trump's latest travel ban blocked yet again by a judge, his health care bill start to fall apart, and his wiretapping claims debunked," the host said on Thursday's episode of NBC's "Late Night.""And now on top of all that, he unveiled a drastic new budget plan that slashes anti-poverty programs."

Trump presented his budget proposal on Thursday, which quickly found opposition for its cuts in federal funding to the Environmental Protection Agency, the National Endowment for the Arts, public media such NPR and PBS, and social service programs, including Meals on Wheels.

"Donald Trump, I understand you won. And because you won, you get to suggest cuts to the budget," Meyers said, before acknowledging that cuts to the EPA and NEA were to be expected.

"But Meals on Wheels?" he continued. "How dead inside do you have to be to not want old people to get food? Your heart is so small, it makes your tiny hands look like catcher mitts. Old people voted for you. Your key demographics were old people and older people. They believed you when you said you cared about them."

Watch the latest "A Closer Look" segment below:

SEE ALSO: CNN's Van Jones: Why Oprah could beat Trump in 2020

DON'T MISS: Seth Meyers: The real revelation of Trump's leaked tax return

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NOW WATCH: The biggest winners and losers in Trump's proposed budget

As hinted by HBO's recent "Game of Thrones" marketing stunt, firepower will play a huge role on the show's upcoming seventh season. And now, director Matt Shakman is filling in some of the details.

Fans have watched the dragons grow since they hatched during the first season six years ago. On the last season, we saw them join Daenerys (Emilia Clarke) in her fiery quest to capture the Iron Throne. Fearsome then, Drogon, Rhaegal, and Viserion have done some growing between seasons.

“The dragons this year are the size of 747s,” Shakman, one of just four directors helming episodes on the upcoming season, told Entertainment Weekly. “Drogon is the biggest of the bunch — his flame is 30-feet in diameter!”

To give you some idea of the immense size that Shakman is referring to, the Boeing 747 is about 230 feet long with a 210 feet wingspan and, depending on the model, can carry 416 to 660 passengers.

With just two seasons remaining, HBO has been teasing a "fire and ice" theme heavily. Many fans theorize that to mean that there will be a face-off between Daenerys and Jon Snow (Kit Harington). From Shakman's comments, the dragons would provide a lot of firepower during that epic battle.

SEE ALSO: HBO made 'Game of Thrones' fans watch ice melt for a painfully long time, and they went nuts

DON'T MISS: 7 TV shows you need to watch if you love 'Game of Thrones'

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NOW WATCH: Watch the new teaser trailer for 'Game of Thrones' season 7

Netflix's fourth Marvel series, "Iron Fist," was arguably the streaming company's most highly anticipated of the "Defenders" franchise. With such high expectations for the show, critics weighed in with their great disappointment. The reviews for "Iron Fist" were pretty miserable.

As a result, the show received some pretty dismal scores on the review aggregation sites: a score of 36 from Metacritic, which indicates "generally unfavorable reviews," and a low 19% fresh score by Rotten Tomatoes.

"Iron Fist" follows Danny Rand (Finn Jones), who returns to New York City after having gone missing for 15 years. Believed dead after a plane accident that claimed his wealthy parents' lives, Danny actually survived and was rescued by a mystical sect of monks. Schooled in kung fu and entrusted with the power of the invincible iron fist, Danny is back to reclaim his family company. But when a dangerous threat arrives, he has to choose between his familial obligations and his duties as the Iron Fist.

In my review of the show for Business Insider, I similarly panned the series' writing, pacing, and fight scenes, and for not living up to the standards Netflix set with previous Marvel series, "Daredevil,""Jessica Jones," and "Luke Cage."

I wrote, "Plainly stated, "Iron Fist" is boring," as were its fight scenes.

But what did other critics say about "Iron Fist"?

Variety critic Maureen Ryan found the show missed the mark in several ways: "It takes forever for anything to happen on 'Iron Fist,' and as it stumbles along, the uninspired production design, unexceptional cinematography, and painful dialogue fail to distract the viewer from the overall lack of depth, detail, or momentum."

The Hollywood Reporter's Dan Fienberg wasn't impressed with the show's star, writing "It's unclear if Jones' lack of physical authority is dampening 'Iron Fist's' ability to be an action show or if 'Iron Fist's' lack of interest in being an action show has negated Jones' ability to display physical authority."

Collider's Allison Keene felt the series failed to take advantage of its talent and source material: "Despite a very good cast and a great origin story, 'Iron Fist' is predictable, a little hammy, and has no real sense of how to tell a cohesive story. As such, it has a few moments that are great and many that are not."

Most other reviews echoed these sentiments, but what did reviewers like about the show?

USA Today's Brian Truitt agreed with my view that Jessica Henwick as Colleen, the principled and badass master of a struggling karate dojo, community leader, and potential love interest for Danny, is a standout new character.

"The British actress ultimately steals the show by bringing modern complexities and watchable gumption to Marvel’s newest dangerous, no-nonsense woman,"Truitt wrote of Henwick.

New York Times critic Mike Hale also felt the superb cast was underserved and reserved some judgment as critics were only given the first six episodes.

"The sad thing, and perhaps the hopeful thing, about the dawdling featurelessness of the early episodes is that you can see a better show struggling to get out. The actors ... are better than the material they’re given," he wrote. "Until we see the full season, we won’t know whether the show manages to focus its chi."

Viewers can make their own decisions on "Iron Fist," which is now available to stream on Netflix.

Nathan McAlone contributed to this article.

SEE ALSO: 'Marvel's Iron Fist' star Finn Jones defends the Netflix show after miserable reviews

DON'T MISS: The 18 worst new TV shows of the year so far, according to critics

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NOW WATCH: Netflix and Marvel just dropped the first 'Iron Fist' trailer — and it looks incredible

The INSIDER Summary:

• BBC America's nature docuseries "Planet Earth II" recently premiered in the US. 
• The "Grasslands" episode follows elephants and rhinos in India's Kaziranga National Park, where grass grows three times taller than humans. 
• Producer Chadden Hunter said it made him feel "as small as an insect."

Grass is one opportunistic plant: It covers a whopping 40% of the land on Earth. It also makes an excellent hiding place for animals. The producers of BBC America's new docuseries "Planet Earth II" learned this the hard way. 

"Most people think grasslands must be easy places to film — endless horizons, grazing animals everywhere you look.  When I decided to dig deeper and reveal the secretive world of animals hidden inside the grass I soon realized why few filmmakers have tried that before," episode producer Chadden Hunter told INSIDER. "If you think rainforests are impenetrable, try finding a one-inch harvest mouse in a waist-high flowering meadow. Even creatures as large as Bengal tigers and Asian rhino remained hidden in tall grass when they were only a few feet from us."

This is especially true in India's Kaziranga National Park, where the crew spent time filming elephants. The episode starts with close-up footage of the giant mammals pushing their way through grass as tall as they are. (That's probably why it's informally known as elephant grass.)

The crew was able got the footage thanks to a tip from park rangers: They told Hunter that there was a matriarch elephant who was usually calm enough to allow humans near her. Viewers may not have realized that wild elephants' seemingly gentle nature belies the fact that they can be very dangerous.

"Walking beneath the towering elephant grass, it's hard not to feel as small as an insect. The grass is more than three times the height of a human," Hunter said. 

Bengal tigers also live within the confines of the park — and according to Hunter, they're the real masters of disguise.

"Their stripes evolved to camouflage them brilliantly in the tall grass," he said. "And as they slink off into the labyrinth, it's nice to be reminded, in the age of ever-more-intimate wildlife filming, there are magical places where creatures keep their secrets."

Of course, no episode of "Planet Earth" would be complete with just one animal habitat, no matter how majestic. That's why the crew traveled to six of the world's seven continents to film a diverse array of grassland-dwelling animals, including lion cubs, crazy-powerful grass-cutter ants, and the aforementioned one-inch harvest mouse. (Spoiler: It's super adorable.)

The Grasslands episode of "Planet Earth II" airs March 18 at 9 p.m. on BBC America.

Join the conversation about this story »

NOW WATCH: At this lion sanctuary, the visitors are the ones in cages

Some Netflix members are discovering a new time-saving option that could improve binge-watching on the streaming service.

For viewers who are binge-watching a show, it can be annoying to have to watch the opening credits and hear the theme song numerous times, so Netflix is testing an option that allows viewers to skip the intro altogether.

As we've seen with Netflix when it comes to show ratings numbers, the company is keeping details of the feature close to the vest.

A Netflix spokesperson told CNN that the feature is one of "hundreds" of tests that the company conducts each year.

"We're looking at what does or doesn't enhance the viewing experience," said the rep, who declined to comment further on the "skip intro" button and when testing on it began.

The "skip intro" option doesn't appear for all members. If you do have it, it can be found in the lower-right corner of your screen at the beginning of episodes. For those who don't have access to the button, keep in mind that Netflix already automatically skips the intro to TV shows when it recognizes that you're watching multiple episodes in a row — this new method just takes that feature and turns it into a button.

It's not clear whether it's available for all shows. So far, users have said that it's available on"Orange Is the New Black,""House of Cards,""Iron Fist,""The Office," and "Mad Men."

Some folks who do have it are flaunting it on social media:

The "skip intro" option may not be the cat's pajamas for every viewer, especially for those binge-watching "The Office."

As we said before, the option is being tested.

SEE ALSO: Critics are throwing daggers at Netflix's 'hammy' and 'uninspired' new show 'Iron Fist'

DON'T MISS: Inside Jerry Seinfeld's $100 million decision to jump to Netflix

Join the conversation about this story »

NOW WATCH: Animated map shows the most popular show on Netflix in every state

Once again, Amazon Prime Video wants to know what you think of its new pilots.

On Friday, the company kicked off its newest pilot season with two one-hour drama pilots and three half-hour comedy pilots.

Instead of a bunch of suits debating what to greenlight, viewers can watch the pilot episodes and review them in order to help Amazon choose which ones it will order to series.

The stakes are pretty high for Amazon. According to estimates, it's investing more than $3 billion this year on original projects. And that means it's going to need to make more than a tiny dent into Netflix's streaming dominance and get a bigger share of Hollywood's Emmy awards bounty.

We watched Amazon's new batch of pilots. Here's our take:

SEE ALSO: Critics are throwing daggers at Netflix's 'hammy' and 'uninspired' new show 'Iron Fist'

DON'T MISS: The 18 worst new TV shows of the year so far, according to critics

Drama: "The Marvelous Mrs. Maisel"

From Amy Sherman-Palladino and Daniel Palladino, the husband-and-wife team behind "Gilmore Girls," drama pilot "The Marvelous Mrs. Maisel" follows Miriam “Midge” Maisel's (Rachel Brosnahan) downfall from her perfect life as a 1950s Manhattan wife and mother to becoming immersed in the seedy downtown stand-up comedy scene.

The pilot's excellent cast includes Michael Zegen ("Boardwalk Empire"), Alex Borstein ("MADtv"), Tony Shalhoub ("Monk"), and Marin Hinkle ("Two and a Half Men").

Our take: The pilot is immensely entertaining, with crisp dialogue and smart pacing. Plus, it really captures some very unique cultural aspects of 1958 New York City, such as the Jewish upper-crust and especially the burgeoning careers of comedy iconoclasts such as Lennie Bruce.

Drama: "Oasis"

Based on the cult-hit novel "The Book of Strange New Things" by Michel Faber, drama pilot "Oasis" stars "Game of Thrones" actor Richard Madden, an ecumenical priest who is sent into space to help establish a colony on a distant planet. But once he arrives, he finds morale is low among the settlement team and there's an inexplicable force that makes the planet very deadly.

It also stars Anil Kapoor ("24"), Mark Addy ("Game of Thrones"), and a grown-up Haley Joel Osment, who played the young boy on "The Sixth Sense."

Our take: There's some very good acting on "Oasis," but the dialogue and plot can feel very predictable. There's a real urge here to show off the arid, yet beautiful surroundings of the planet, but a pilot is limited in the amount of character exploration that it can cover. It really only scratches the surface there while setting up what feels like the show's important plot twist.

Comedy: "The Legend of Master Legend"

This dark comedy pilot revolves around Frank Lafount (John Hawkes), who hits the streets of Las Vegas as low-budget superhero Master Legend. Charmingly delusional, Frank has to balance his deep sense of justice with the burdens of actual life and disapproval from his family.

The pilot also stars Dawnn Lewis ("Major Crimes"), Shea Whigham ("Boardwalk Empire"), and newcomer Anjelika Washington.

Our take: This pilot makes it tough not to love and conversely feel sorry for its homemade superhero. Its eclectic characters give the comedy so many directions to go, which makes this pilot a pretty good bet for a surprising full season. This definitely lives up to the expectations of a show that's produced and written by a team whose credits between them include "Argo" and "Transparent."

With more A-list stars, directors, and producers creating television than ever before, many are calling this the next golden age of TV. But regardless of who's involved, there are bound to be some shows that don't shine quite as brightly.

More outlets are creating TV content, from streaming companies like Netflix, Amazon, and Hulu to cable networks increasingly getting into the scripted-show game, like Bravo, E!, and Spike.

But what's worth your time and what isn't? In times like these, you should let the experts watch so you don't have to.

Metacritic keeps track of a curated group of critics, assigns each review a number according to how positive or negative it was, and then creates a weighted average score for each show.

CBS, NBC, and Fox tied with four shows each among the shows least liked by critics. But some of the newer companies also produced stinkers. Netflix, for example, netted itself a zero instead of a superhero. Which other networks had the misfortune of landing shows on the list?

Here are the 18 worst-reviewed TV shows of 2017 so far, using Metacritic scores:

SEE ALSO: Who's winning and losing late-night TV under Trump

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18. "Time After Time" (ABC)

Metacritic score: 59

A remake of the 1979 movie of the same name, "Time After Time" mirrors the film's centuries-spanning chase of the charismatic Dr. John Stevenson, aka Jack the Ripper (Josh Bowman), by a dashing H.G. Wells (Freddie Stroma), the author of "The Time Machine" and "The War of the Worlds," among many other notable novels. The famous 19th-century serial killer has stolen the author's time machine and escaped to modern-day New York City. Wells ventures after him to bring him back to the past.

17. "Doubt" (CBS)

Metacritic score: 58

"Doubt,"which has already been canceled, follows Katherine Heigl's character, defense attorney Sadie Ellis, and her colleagues at a boutique law firm. Sadie is defending a wealthy client, but things get complicated when she begins to fall in love with him. Laverne Cox and Dule Hill also starred on the legal drama.

16. "Chicago Justice" (NBC)

Metacritic score: 57

The latest in NBC's "Chicago" franchise, "Chicago Justice" follows the members of the state attorney's team of prosecutors and investigators who must balance the public opinion and city politics with their execution of the law.

It's really appropriate that "Into the Badlands" returns on St. Patrick's Day weekend as the AMC martial arts drama gives a lot of credit to Ireland for helping to enlarge the scope of its second season.

"We always try to make the show epic and big and grand," Daniel Wu, who's an executive producer on the show and stars as trained warrior Sunny, told Business Insider recently.

"But it was very difficult when we were shooting in New Orleans just because the geographical location was very limiting. If you go to New Orleans, it's just swamp. And more swamp. And more swamp. And more swamp. It's very flat and there's not much to see. We pretty much shot everything you possibly shoot there with the look of our show."

Over last summer, the production packed up for Ireland to shoot its sophomore year in and around the cities of Dublin and Wicklow. The result of the move makes quite a visual impact on the show's second season, which premieres Sunday at 10 p.m.

"Going to Ireland really opened it up for us," Wu said. "Because what you get within half an hour of Dublin city center are mountains, oceans, rivers, forests. You get all this great stuff that adds to the epic grandness of the show."

On the show's first season, we met Wu's Sunny, a trained assassin in service of the land baron, Quinn (Marton Csokas). In the midst of an illegal romance with Quinn's doctor, Veil (Madeleine Mantock), Sunny realizes they can't totally be free unless he leaves Quinn's army. Enter M.K. (Aramis Knight), an orphaned boy with a powerful gift whose tales of his mystical homeland, Azra, could mean freedom for Sunny and the now-pregnant Veil. But that freedom will be hard-fought, especially as Quinn and another powerful baron realize M.K. can be used as a weapon.

In its second season, Sunny and M.K. find themselves alone and separated by miles of diverse terrain as each one tries to find their purpose – something influenced by the possibilities that shooting in Ireland gave the production.

"On top of the move to Ireland, the writers stepped up this season and really went at character development and developing the story and really focusing on what the show is about," Wu said. "On two levels: visually and artistically, we've stepped up. But also in the writing as well. Combined together, those are our two weaknesses from last season. And I think we stepped up on those issues and made it so much better this season."

For those fans who liked having all the characters clashing with one another, don't despair. Wu teases that a reunion is the ultimate goal for the characters.

"Everyone's been separated and blown apart, but it gives everyone a common path," he told us. "Even though they're going through different things, they're all trying to focus on the one thing: trying to get back together. Sunny is trying to get back to Veil and the baby, as well as find M.K. M.K. is also looking for Sunny. Veil is also hoping that Sunny appears somewhere. She doesn't know where he is, and he might be dead. Then you have the issues with the barons and their story, and trying to control the Badlands. So everyone is converging back into the Badlands from last season."

Watch a trailer for the second season of AMC's "Into the Badlands" below:

SEE ALSO: How 'Into the Badlands' pulls off its incredible martial arts fighting scenes

DON'T MISS: Critics are throwing daggers at Netflix's 'hammy' and 'uninspired' new show 'Iron Fist'

Join the conversation about this story »

NOW WATCH: We're already sold on AMC's insane-looking kung fu western 'Into the Badlands'

NEW YORK (AP) — Folks on Sesame Street have a way of making everyone feel accepted.

That certainly goes for Julia, a Muppet youngster with blazing red hair, bright green eyes — and autism. Rather than being treated like an outsider, which too often is the plight of kids on the spectrum, Julia is one of the gang.

Look: On this friendliest of streets (actually Studio J at New York's Kaufman Astoria Studios, where "Sesame Street" lives) Julia is about to play a game with Oscar, Abby and Grover. In this scene being taped for airing next season, these Muppet chums have been challenged to spot objects shaped like squares or circles or triangles.

"You're lucky," says Abby to Grover. "You have Julia on your team, and she is really good at finding shapes!"

With that, they skedaddle, an exit that calls for the six Muppeteers squatted out of sight below them to scramble accordingly. Joining her pals, Julia (performed by Stacey Gordon) takes off hunting.

For more than a year, Julia has existed in print and digital illustrations as the centerpiece of a multifaceted initiative by Sesame Workshop called "Sesame Street and Autism: See Amazing in All Children."

She has been the subject of a storybook released along with videos, e-books, an app and website. The goal is to promote a better understanding of what the Autism Speaks advocacy group describes as "a range of conditions characterized by challenges with social skills, repetitive behaviors, speech and nonverbal communication, as well as by unique strengths and differences."

But now Julia has been brought to life in fine Muppet fettle. She makes her TV debut on "Sesame Street" in the "Meet Julia" episode airing April 10 on both PBS and HBO. Additional videos featuring Julia will be available online.

Developing Julia and all the other components of this campaign has required years of consultation with organizations, experts and families within the autism community, according to Jeanette Betancourt, Sesame Workshop's senior vice president of U.S. Social Impact.

"In the U.S., one in 68 children is diagnosed with autism spectrum disorder," she says. "We wanted to promote a better understanding and reduce the stigma often found around these children. We're modeling the way both children and adults can look at autism from a strength-based perspective: finding things that all children share."

Julia is at the heart of this effort. But while she represents the full range of children on the spectrum, she isn't meant to typify each one of them: "Just as we look at all children as being unique, we should do the same thing when we're looking at children with autism," Betancourt says.

It was with keen interest that Stacey Gordon first learned of Julia more than a year ago. "I said, 'If she's ever a puppet, I want to BE Julia!'"

No wonder. Gordon is a Phoenix-based puppeteer who performs, conducts classes and workshops, and creates whimsical puppets for sale to the public.

She also has a son with autism, and, before she started her family, was a therapist to youngsters on the spectrum.

Although she figured her chances of landing the dream role of Julia were nil, her contacts in the puppet world paid off: Two friends who worked as Muppeteers on "Sesame Street" dropped her name to the producers. After submitting tapes, then coming to New York for an audition, she was hired.

In the introductory segment, Julia is having fun with Abby and Elmo when Big Bird walks up. He wants to be her new friend, but she doesn't speak to him. He thinks she doesn't like him.

"She does things just a little differently, in a Julia sort of way," Abby informs him.

Julia, chuckling, then displays a different-but-fun way of playing tag, and everyone joins in. But when a siren wails, she covers her ears and looks stricken.

"She needs to take a break," Big Bird's human friend Alan calmly explains. Soon, all is well and play resumes.

"The 'Meet Julia' episode is something that I wish my son's friends had been able to see when they were small," says Gordon. "I remember him having meltdowns and his classmates not understanding how to react."

Gordon says her son, now 13, isn't drawn to puppetry. "He's more interested in math and science, and plays the piano brilliantly," she says with pride.

But she's having a blast being part of the show that helped hook her, as a child, on puppeteering.

"It is so much fun to be on set with everyone, and get to play up all the positive things I've seen with the kids that I've worked with," Gordon says. "At the same time, I come at this with a reverence. I don't want to let the autism community down."

___

EDITOR'S NOTE: Frazier Moore is a national television columnist for The Associated Press. He can be reached at fmoore@ap.org. Past stories are available at http://bigstory.ap.org/content/frazier-moore

SEE ALSO: ‘Sesame Street’ is so good for kids, scientists say it could probably replace preschool

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NOW WATCH: This animation shows how terrifyingly powerful nuclear weapons have become

Tim Allen wouldn’t be the first to accuse Hollywood of shunning conservatives, but his latest comparison may have taken it a bit too far.

In an appearance on “Jimmy Kimmel Live!” on Friday, Kimmel asked Allen if he went to President Donald Trump’s inauguration. Allen, who plays an outspoken conservative on “Last Man Standing” and has been open about his right-wing political beliefs, stammered and answered, “I was invited, we did a VIP thing for the vets, and went to a veterans ball, so I went to go see Democrats and Republicans.”

“Yeah I went to the inauguration,” he said. The comedian got somewhat defensive in his response, prompting Kimmel to say, “I’m not attacking you!”

“You gotta be real careful around here, you know,” Allen said. “You’ll get beat up if you don’t believe what everybody believes. It’s like ’30s Germany.”

His analogy provoked backlash on social media, but it’s not the first time Allen has sparked controversy due to his political comments. He’s previously made headlines for saying Bill and Hillary Clinton “are like herpes,” among other controversial statements.

Allen has also previously spoken out against how he believes Hollywood treats conservatives. In an interview with Megyn Kelly on Fox News, Allen said, “What I find odd about Hollywood is they didn’t like Trump because he was a bully. But if you had any kind of inkling that you were for Trump, you got bullied.”

Watch Allen's thoughts on being a conservative in Hollywood below:

SEE ALSO: Who's winning and losing late-night TV under Trump

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NOW WATCH: What happens when you eat too much protein

Kim Kardashian feared she'd be killed and "mentally prepped" herself to be raped during the 2016 robbery in Paris, which resulted in nearly $10 million in stolen jewelry.

Kardashian recounted the robbery during Sunday's episode of E!'s "Keeping Up with the Kardashians." In previous teasers for the episode, Kardashian tells her sisters, Khloe and Kourtney Kardashian, how she thought the robbers knew when to attack while her sisters were out at a club and and how she realized that they had a gun.

On Sunday's episode, she explained how the robbers forced the concierge at the property she was renting to open her door and then held him captive, as well. He also played the translator between Kardashian and the robbers, who didn't speak English.

"I remember looking at the concierge," Kardashian tearfully recounted. "And I just said, 'Are we going to die? What's happening to us? I have babies. Please tell them. They can't understand, but please tell them. I have babies at home. Please, I have a family. Let me live.'"

The reality star, who has two young children with husband, rapper Kanye West, also said she believed she would be raped.

"Then [one of the robbers] duct tapes my face, my mouth, to get me to not yell or anything and then he grabs my legs and I wasn't, I had no clothes on under [my robe] and he pulled me towards him at the front of the bed and I thought, 'OK, this is the moment. They are going to rape me.'" Kardashian said. "And I fully mentally prepped myself and then he didn't and he duct taped my legs together."

Afterward, she said one robber placed the gun to her head and she was sure he would kill her.

"I just knew that was the moment they are just totally going to shoot me in the head," she said. "I just prayed Kourtney was going to have a normal life after she sees my dead body on the bed."

But the robbers, who were dressed in police uniforms during the October 2016 crime, spared her life. Instead, they left Kim in the bathroom of her Paris rental and escaped with her engagement ring from West, and other jewels totaling $9.5 million.

"It's all replaceable," Kardashian concluded about the losses. "None of it matters."

In January, Paris police said they were investigating at least three suspects in the crime.

In the wake of the incident, gossip site MediaTakeout.com claimed that Kardashian had faked the robbery and filed a fraudulent insurance claim for millions of dollars. She then sued the site for libel.

Watch the video from "Keeping Up With the Kardashians" below:

SEE ALSO: Kim Kardashian has a theory about how robbers tied her up and stole $10 million in jewelry

DON'T MISS: Kim Kardashian finally opens up about her Paris robbery: 'I saw the gun'

Join the conversation about this story »

NOW WATCH: 'To discuss multicultural issues' — Kanye explains why he met with Trump

John Oliver examined the series of events that followed President Donald Trump's allegation that former President Barack Obama had Trump's telephones tapped during the election campaign.

After multiple American and international intelligence agencies, as well as fellow Republicans, have said that there's no evidence Obama ordered surveillance of Trump, HBO's "Last Week Tonight" host slammed the president for saying he got his information from Fox News Channel contributor Judge Andrew Napolitano.

"He only said it because he heard it on television is barely an acceptable excuse for why your parrot said a racial slur. 'No, no, no, we've been watching 'The Wire,'" Oliver joked, referring to the strong language on the HBO cop drama from the early 2000s.

In response to Trump's claim, Fox News issued its own statement saying that there was "no evidence" that Obama wiretapped Trump. After all that, Oliver mocked the president by pointing to CNN's Fareed Zakaria, who said Trump's M.O. is "bulls----ting."

"Yeah, Donald Trump is a bulls--- artist," Oliver said. "I know Trump might want to refute that. But to be fair, someone on TV did say it and I am repeating it. So therefore, it must be true."

You can watch the full episode over on HBO's website, or watch the segment on Trump's wiretapping claims in the clip below:

SEE ALSO: Seth Meyers: Trump's proposed budget cuts show just how 'dead inside' he is

DON'T MISS: CNN's Van Jones: Why Oprah could beat Trump in 2020

Join the conversation about this story »

NOW WATCH: Trump, confronted on wiretapping claims, tells Merkel: 'At least we have something in common, perhaps'

If you've ever wondered how the "Saturday Night Live" actors pull off the transition from one character to the next between scenes, this video gives a good look at the process.

The NBC sketch show just pulled back the curtain on the Hollywood magic with footage showing the amazing and nerve-racking task of transforming Emmy-winner Kate McKinnon from Attorney General Jeff Sessions to her botched mermaid character, Shud, over one commercial break between scenes.

In about four minutes, the makeup team is tasked with pulling off McKinnon's transition as time and the control room is bearing down on them.

This video is especially timely as the show just announced that it will go live on both coasts and in all time zones for the first time ever for the remainder of the current season, starting with the April 15 episode. So, this video highlights the harrowing behind-the-scenes task of airing live and the potential risk of not having the ability to edit out mistakes for the West Coast airing.

Watch the amazing transition below:

SEE ALSO: Watch a team of 'SNL' pros complete the nerve-racking transition between scenes in just over 2 minutes

DON'T MISS: Alec Baldwin gets paid $1,400 every time he plays Trump on 'SNL'

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NOW WATCH: Why John Cena's 'SNL' hosting gig means big business for WWE

The INSIDER Summary: 

• Meryl Streep looks like she's shouting in this picture.
• People are filling out song verses as a caption.
• It's not the first time Meryl Streep became a meme.

Almost more often than not, Meryl Streep is nominated for a Screen Actors Guild Award. In 2015, she was nominated for her supporting role in "Into the Woods," where she plays a witch.

She lost to Patricia Arquette for her role in "Boyhood," but the internet was determined to make her a winner anyway. It turned a moment from the 2015 SAG Awards into a meme.

In the still from the awards broadcast, Streep is cupping her hands around her mouth to project something she's shouting.

It kind of looks like she's joining a song verse.

Sometimes the meme involves getting the lyrics wrong.

It also looks like she could be yelling a slogan from a commerical.

People have highlighted Meryl's expression since over a year ago, when now-Entertainment Weekly editor Joey Nolfi recalled Streep being "Awards Season Hype Girl." It's not really clear why the moment resurfaced this weekend.

This is, of course, far from the only time Meryl Streep has become a meme. In fact, that's not the only time from that awards season. When Patricia Arquette won the best supporting actress Oscar for her role in "Boyhood" (again, beating out Streep for "Into the Woods") Arquette used her speech to discuss the importance of equal pay for women. Streep and Jennifer Lopez hooted and applauded in approval.

Streep's lively expression also achieved memedom during this year's Oscars, when "Moonlight" won best picture after "La La Land" was announced as the winner.

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CBS has finalized its deal with Warner Bros. Television for two more seasons of “The Big Bang Theory,” making the Eye’s tentpole comedy one of primetime’s long-running sitcoms, with at least 12 seasons.

The renewal has been in the works for the past few months. The big hurdle was cleared last month when the five original members of the series ensemble — Jim Parsons, Johnny Galecki, Kaley Cuoco, Kunal Nayyar and Simon Helberg — struck new deals with the studio. The deal is envisioned as taking the show through its final two seasons, for a total of 48 more episodes.

The studio is said to still be in negotiations with “Big Bang” stars Mayim Bialik and Melissa Rauch, who have become core members of the cast during their seven years on the show. Bialik and Rauch have been pushing for salary parity with the original five, who are slated to earn about $900,000 per episode in the next two seasons.

The original five actors agreed to take a $100,000 pay cut apiece from their current salaries to free up more funds in the budget to help provide raises for Bialik and Rauch, who have been paid far below their co-stars at around $175,000-$200,000 per episode.

“Big Bang” is among primetime’s highest-rated series and has been hugely successful in syndication for Warner Bros., in addition to spawning a recently ordered to series spinoff, “Young Sheldon.” But at present, given the cast salaries and production costs, the new first-run episodes will not be a huge moneymaker for the studio or CBS.

The lack of windfall profits to come from the 48 new episodes has been a hurdle in dealmaking with all of the actors. But given the extraordinary gesture by Bialik and Rauch’s co-stars, the pressure is on Warner Bros. to find a path to making the pair feel fairly valued for their contributions to the show. Bialik earned four consecutive supporting comedy actress Emmy noms for her work as Amy Farrah Fowler, girlfriend of Parsons’ Sheldon Cooper. Rauch is a fan favorite whose marriage to Helberg’s Howard Wolowitz, and birth of their first child, has been a central storyline for the past three seasons.

SEE ALSO: 'Big Bang Theory' stars each took a $100,000 pay cut because two women on the show were making $800,000 less

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If your dream is to work in television or you already do, a new survey shows what you can (or should) make. But in the process, it also highlights the pay disparity for women and minorities.

On Monday, New York-based production services and career consultants, Brits in the Box, and online production job site, ProductionBeast, released their 2016 Annual Production Salary Report.

The report focuses on non-union salaries in TV and digital media production. Its results were drawn from 302 respondents who completed the anonymous survey distributed through the mailing lists and social media channels of both companies.

In addition to finding that the median TV salary amounts to $78,000 a year, the survey found that women and minority professionals are being paid lower than their male and white colleagues. According to the survey, the median annual earnings for women were 11% less than men, and non-white talent made just 63 cents to every dollar earned by those identifying as white. 

Here's a deeper look into what the survey shows about TV industry salaries:

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Of those who answered the survey, 40% were between the ages of 25 and 34. A huge 84% work in freelance positions and just 13% held staff positions. And 6% more males answered the survey than women.

Of those who answered the survey, a majority work on the West Coast and in unscripted TV, such as documentaries or reality shows.

Scripted TV pays less on average than unscripted.

Warning: Spoilers ahead for "Game of Thrones."

Put thousands of diehard "Game of Thrones" fans into a giant room, place Ramin Djawadi onstage with a live orchestra, and add huge screens playing the best scenes from every season, and you have a recipe for a bangin' good time.

If you are a "Game of Thrones" fan, listening to live renditions of the series' most epic soundtrack moments while watching each of your favorite characters get their own tribute montage is about as good as it gets. Which is why HBO and "Game of Thrones" composer Ramin Djawadi's idea for a "live concert experience" is genius at its core. 

Understandably, you might be confused by the concept. What exactly does a "Game of Thrones" concert entail? As our resident "Game of Thrones" nerd, I went to one to see for myself and report back.

The set up, no matter what city you see the show in, is a 360° stage. Djawadi and his orchestra are on one side, with a symmetrical platform on the opposite side. That platform is rigged with a rising center and interactive walls with a screen above, so a violin soloist or singer can have their time to shine away from the rest of the bustle.

The show opens with a pre-recorded warning from Lena Heady (Cersei Lannister). Her voice booms over the dark concert hall, requesting that everyone silence their cell phones. "Those who violate these rules will be boiled alive in the blood of their children," she says. 

Then, from start to finish, Djawadi combines stage effects with his live orchestra, playing various scenes from the show as they sync up with his chosen selection of soundtrack songs. 

For example, one of the first parts is a family montage dedicated to the Starks. A soloist stood on one end of the 360° stage, playing the mournful Stark theme while Ned, Catelyn, and their children were shown.

As the song built up to its heartbreaking end, Ned's execution scene played out on the huge screens while a weirwood tree rose from the stage around the violinist. As Ned's death came closer, the tree bloomed with red petals — petals that eventually came showering down on fans standing near that section of the stage. 

I nearly wept, along with the thousands of superfans surrounding me.

The sequence of music chosen by Djawadi is not only chronologically matched with the show's seasons, but it was meant to force fans to relive both the best and worst moments of their favorite characters' stories. Djawadi purposefully placed the Lannisters' tribute and a chilling cover of "Rains of Castamere" right before the tragic Red Wedding scene played out on screen.

And the crowd was more than happy to engage with the scenes shown. People booed loudly whenever Cersei Lannister, Walder Frey, or Ramsay Bolton appeared on screen, and cheered "King in the North!" and "Mhysa!" when they saw Jon Snow and Daenerys Targaryen. 

The show was split into two acts, just like a play or an all-star sports game, with a fifteen minute intermission between each hour or so of music. 

Djawadi's haunting piano track "Light of the Seven" was the star of the second act, with nearly six minutes of build up while Djawadi himself played the giant organ (or what was more likely a keyboard disguised as an organ). The green flames of wildfire licked up the stage's screen, until finally the platform erupted with pyrotechnics and smoke as the Sept of Baelor exploded on-screen.

Djawadi was tiny compared to the epic set surrounding him on stage. Then, he disappearing in a blaze of wildfire and smoke.

The "Game of Thrones" concert experience is effectively like watching a compilation of the "greatest hits" in the series. Composer Ramin Djawadi leads an orchestra and group of singers as they go from the iconic main title song all the way to the final music played in the season six finale. 

You thought Hodor's death on the HBO show was heartbreaking? Try watching a compilation of his and Bran's journey north before seeing his sacrifice while listening to the terrifying White Walkers' theme music.

Instead of just watching Daenerys' dragons take flight over her new army of Unsullied in your living room, it's playing on a giant screen in front of you and you're seeing the TV magic unfold with thousands of fellow superfans. There were even real fire bursts synced up to the on-screen dragons:

"Game of Thrones" often raises the bar when it comes to producing television on an epic scale often equated to big-budget movies. From season two's Battle at the Blackwater, to season five's surprise Hardhome massacre and then season six's Battle of the Bastards, even people who don't watch the series have a hard time remaining ignorant of the massive productions featured each season.

The sweeping musical score makes a huge contribution to these moments of epicness, and so hearing each song performed live has an inherent magic. The swell of emotion you felt when Jon Snow died wasn't due solely to seeing a hero bleeding on the ground, it was partially because Djawadi selected the melancholy Stark theme music to play over Jon's final moments.

And Daenerys setting sail for Westeros wouldn't have been nearly as monumental without hearing the Targaryen and Greyjoy themes blended together for a new song, striking an inspiring note while signaling change. 

This is why the concert works, and is worth the price of entry. If you're not a fan who rewatches every episode and can recognize every soundtrack listing, Djawadi's concert acts as a part-educational, part-nostalgic spectacle. But if you are a hardcore rewatcher, then the event becomes participatory — you're able to guess what's coming next based on small musical cues, and you can sit back and bask in your favorite soundtrack moments. 

Tickets for the show range from $20 - $200, depending on the arena and seating, and we think the price of entry is worth it for any and all fans of the show. Music is coming, and the fun comes with it.

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When ESPN’s highly acclaimed "30 for 30" documentary “O.J.: Made in America” won the best documentary Oscar at this year’s Academy Awards, it was the happy ending director Ezra Edelman and his crew hoped for after two years of making the film and over a year promoting its airing on ESPN and unconventional Oscar-qualifying theatrical release.

But for ESPN Films' senior vice president and executive producer Connor Schell, it was quickly back to business. Though the network’s seven-and-a-half hour documentary that used the incredible rise and fall of football hall-of-famer O.J. Simpson to explore issues of race and class in Los Angeles garnered unanimous esteem within the industry and the network's first-ever Oscar, ESPN Films isn't through telling unique stories from the sports world.

"We're trying to continue to push and evolve the genre and come up with new ways to tell stories and new voices to tell them with," Schell told Business Insider.

ESPN Films' newest endeavor is a podcast. The "30 for 30 Podcast" was announced at this year's SXSW and will look at stories that don't necessarily fit in movies or short film form.

"There have always been stories that we thought were really interesting but unable to bring to life visually," said Schell, "and so this opens up this whole new type of story we can tell."

Launching in June, the first season will look at topics like the landmark "Dan & Dave" advertising campaign by Reebok that focused on decathletes Dan O'Brien and Dave Johnson in the lead-up to the 1992 Summer Olympics (however, the campaign had to drastically change when O'Brien failed to qualify for the Olympics), and the first all-women's team to make it to the North Pole.

Each episode will have a run time of 30-40 minutes and will be released weekly. Season 2 should be released in the fall.

But ESPN Films' bread and butter is still its non-fiction films, and there are some anticipated ones coming up including a documentary on Kentucky men's basketball coach John Calipari, "One and Not Done" (premiering on ESPN April 13), a doc on the legendary talk radio duo Mike & the Mad Dog (airing in the summer), and one on iconic pro wrestler Rick Flair (airing in the fall).

The Mike and the Mad Dog documentary is particularly special for Schell and many at ESPN as it's a project they have tried to make since Schell and former ESPN columnist Bill Simmons started "30 for 30" back in 2007.

"It was something that we thought about for a long time," said Schell. The documentary will have its world premiere at this year's Tribeca Film Festival in April. "They are legendary figures in sports talk radio, in many ways they created the genre, so to be able to tell that story I think is really excited."

Schell says there are also a few big ideas similar in scope as "O.J.: Made in America" that he has kicking around. Though he was coy about what those actually are, he did hint at one: a project with Oscar-winning director Alex Gibney (who made the "30 for 30" documentary "Catching Hell" in 2011 that looked at the Steve Batman incident during Game 6 of the 2003 National League Championship Series at Chicago's Wrigley Field) on athletes' obsession with physical excellence.

"This is a project we talked to Alex about for literally several years and we've recently moved forward," said Schell. "It's a multi-part series about performance and the limits of performance and the evolution of the pursuit of perfection with the human body. I think it's a bit of a departure for us that will be less narrative storytelling and more first-person scientific journalism almost. I'm really excited about that on the horizon."

Though Schell admits he's up for exploring almost anything under the ESPN Films banner, one thing he has no interest in is whenever Simpson is released from prison. Simpson is currently serving a 33 year prison sentence in Lovelock, Nevada for felonies including armed robbery. He could be released as early as October.

"I think what Ezra was able to do with 'Made in America' was explore all of these incredibly rich and important themes about our country and the criminal justice system and race and the city of Los Angeles — O.J.'s story was a cipher to take you to all of these interesting places," said Schell. "I'm not sure where that goes from here."

"One of the incredible luxuries of being tied to a dynamic news organization is that it's covering everything that needs to be covered every single day, and that's a key reason ESPN Films has been successful," Schell added. "There's no story we have to tell."

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LOS ANGELES (AP) — The Anne Frank Center for Mutual Respect is calling on Tim Allen to apologize for comparing the experience of being a conservative in Hollywood to living in Germany in the 1930s.

Allen made the comments on "Jimmy Kimmel Live" last week while discussing his attendance at President Donald Trump's inauguration. Of Hollywood, Allen said "you've got to be real careful around here or you'll get beat up." He added, "If you don't believe what everybody believes, this is like thirties Germany."

In a statement, Anne Frank Center executive director Steven Goldstein calls on Allen to "apologize to the Jewish people" for the "deeply offensive characterization." He tells Allen that "no one in Hollywood today is subjecting you or anyone else to what the Nazis imposed on Jews in the 1930s"

Allen's representative didn't immediately return a request for comment.

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Though Dave Chappelle became a legend in pop culture after the success of his Comedy Central series "Chappelle's Show," he feels one of the hit shows that came on the network after he suddenly ended his in 2006 hasn't give him proper respect. 

Comics Keegan-Michael Key and Jordan Peele created "Key & Peele" for Comedy Central in 2012 and the show ran for three years to high acclaim, including winning two primetime Emmys. But Chappelle believes their sketch comedy found an audience thanks to the path his show forged.

“When I did 'Chappelle’s Show,' there were certain conventions of the show that the network resisted," Chappelle told Gayle King during an interview on 'CBS This Morning,' coinciding with the release of his new Netflix comedy specials. "And I fought the network very hard so that those conventions could come to fruition. So like the first episode, I do that black/white supremacist sketch. And it’s like, ‘Well, that’s 10 minutes long. It should be five minutes long.’ Why should it be five minutes long? Like, these types of conventions. I fought very hard... So when I watch 'Key & Peele' and I see they’re doing a format that I created, and at the end of the show, it says, ‘Created by Key and Peele,’ that hurts my feelings.”

Key and Peele have used their success to move on to burgeoning movie careers. Key starred in the indie hit "Don't Think Twice" and is now filming the next "Predator" movie. And Peele is currently soaking in the praise for his directorial debut, "Get Out."

Comics have always been competitive with one another, so Chappelle's comments are pretty commonplace for that world. But at the same time, almost every comic has been inspired by someone before them. In the past, Chappelle has given praise to "Saturday Night Live" and even Hugh Hefner when speaking about things that inspired "Chappelle's Show."

And it's not like Key and Peele have not kissed Chappelle's ring. In interviews they did while "Key & Peele" was on the air, they said how much Chappelle was an influence.

Here's what they said during a 2012 AMA: "We are very influenced by 'Chappelle’s Show.' The Rick James Sketch is transcendent. He opened a lot of doors."

Chappelle also talked to King about missing his old Comedy Central show and his thoughts on fame.

Watch the entire "CBS This Morning" Chappelle interview below:

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