Want to get married like you’re in Westeros? That’s probably a bad idea, given that Westeros doesn’t have a particularly great track record when it comes to these momentous occasions, but it’s an even worse idea considering the price tag.

In fact, the weddings that were on Game of Thrones cost a fortune.

This doesn’t just mean for the network — had these weddings happened in real life, they would have been more than a pretty penny. But hey, there is a price to pay if you want doves to fly out of your wedding cake (which, may I add, is probably not the most sanitary option for a dessert).

Britain’s most sought-after wedding planner, Sarah Haywood, broke down the cost of every wedding on Game of Thrones for The Daily Dot.

Unsurprisingly, the notorious Purple Wedding would have been the most expensive, given Joffrey’s excessive taste and the event’s regality. In fact, it would have cost $10,308,179, which needless to say, is a freakin’ lot. Apparently, food alone would have cost approximately $1,800 per person, and that’s not even including the (poisoned) booze. Lest we forget, there’s also the music, the entertainment, the flowers, and, oh yeah, the regicide — but apparently, that could have easily been arranged by slipping someone a $20 bill.

The second most expensive wedding on Game of Thrones was another royal wedding — that of Danaerys and her now deceased husband, Khal Drogo. A Dothraki wedding is an event, as it would have cost $8,652,832. Why so expensive? The cost of food alone would have been $2,305,129, mostly because so many people were in attendance. With nearly 40,000 people in attendance, you can’t expect to have a frugal affair.

The Red Wedding — that between Roslin Frey and Edmure Tully — cost $7,071,396. Of course, that’s a wedding we don’t really want to think about since even a year later, it still leaves scars. But what really made this bill so expensive? Hiring hitmen to kill 3,500 people. That’s not a job people are going to do for free.

Sansa and Tyion’s wedding was more modest by Westeros’ standards, as it only came to $128,279. To put that in perspective, that’s still approximately $100,000 more than the average American wedding.

The most modest affair of all was that of Robb Stark and Talisa, which would have only cost $503, simply for paying the officiant. Consider that Westeros’ version of going to Town Hall.

Bottom line? The weddings these characters have are crazy expensive. For what it’s worth, Kim Kardashian and Kanye West’s wedding only cost $2.8 million. Ha! 

Apparently, Kim and Kanye’s tastes are just not fit for a King on The Iron Throne.

SEE ALSO: 'Game Of Thrones' Finale Leaves Out A Huge Storyline From The Books

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Comedian Dave Chappelle is hitting the talk show circuit this week to promote his upcoming shows at Radio City Music Hall.

Chappelle's latest appearance had him "crashing" the "Today Show" Tuesday morning by standing outside holding a sign with his performance dates.

"That is one of the most grassroots advertising campaigns I have ever seen," Lauer joked when speaking later with the comedian.

But after an entire on-air interview in the "Today Show" courtyard, Chappelle still didn't realize the show was live.

"Are we on television right now?" Chappelle asked Lauer seriously. "This is hilarious, I had no idea this actually started, I thought this was a run through."

Watch the full clip below:

SEE ALSO: Dave Chappelle Had A Very Honest Description Of What It's Like Walking Away From $50 Million

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Brady Miller is an expert archer with 16 years of experience and bowhunting records in 3 continents. You can read his analysis of the archery on previous seasons of "Game of Thrones"here.

You would think with a budget of $4-6 million per episode, “Game of Thrones” would have hired a consultant to get the archery scenes right, but nearly every scene with someone holding a bow contains something wrong.

Here are the mistakes I noticed in the last season alone. 

1. Too Close a Shave: Episode 1

The scene: In the first episode, the red-haired wildling Ygritte is making arrows and cutting the fletchings to trim them to the proper width. Tormund approaches and accuses her of sparing Jon Stark’s life: “I’ve seen you slip a shaft through a rabbit's eye at 200 yards. If that boy’s still walking, it’s ‘cause you let him go.”

The mistake: On a recurve bow, the one Yrigette uses, there’s no way to hit a pea-size target at 200 yards. Even today’s highly skilled target compound bow archer would find that nearly impossible.

2. Bow, Meet Face. Face, Bow: Episode 1

The scene: Soon after, Styr -- aka the scary veined-face cannibal guy -- and a group of Thenn approach. Ygritte draws her bow back on Styr and aims at his throat. 

The mistake: This supposedly expert archer is holding her bow a foot from her face, which is a huge no-no in archery. She also wraps four fingers tight around the string and wraps her pointer finger around the arrow shaft, which is something only very novice archers do.

Ygritte does this several times throughout the season. 

In episode 3, we see this again from a distance. 

During the battle at Castle Black in episode 9, Ygritte draws back and releases an arrow with her draw hand away from her face. Again, the four fingers. 

3. The Overdraw: Episode 9

The scene: When Ygritte comes face to face with Jon Snow again, she's at full draw on him, but hesitates.

There are two mistakes here: She’s overdrawing the bow AND holding it away from her face. 

4. You're Going to Need a Bigger Bow: Episode 3

The scene: The Meereen army launches arrows from the castle, but they fall 20 yards short of Daenerys and her soldiers. 

The mistake: That estimated distance is about 200 yards. The chances that a professional army doesn’t have stronger bows that can shoot farther than that are slim. 

5. Half Draw is Exhausting: Episode 5  

The scene: Lord Petyr Baelish and Sansa Stark are walking to the Bloody Gate. An archer on top of the rock ledge above the path is at half draw through the entire scene, keeping them carefully in his sight.

The mistake: Holding a draw causes fatigue, and believe me, he’d start to shake from holding it that long. If he did shoot, the arrow would have left/right issues and likely miss.

6. The Wall Lean: Episode 9

The scene: An archer leans against a wall while he takes a shot. 

The mistake: Leaning on a wall does not do anything to increase accuracy. If anything, it lessens it. And then there is the problem of a wall behind you. You can’t pull back and properly release if your elbow is jammed up against a wall. 

7. The Over-Lean: Episode 9

The scene: Archers launch flaming arrows from atop the wall of Castle Black. 

The mistake: Both a recurve and a longbow are meant to be held with a slight lean to keep the arrow on the rest. But this archer on the right must have watched too many videos on how to act cool while shooting a bow. He has tipped it over so far that it looks like he might slap his chin with the string on release. It also appears that his thumb or pointer finger is wrapped around the arrow -- the beginner’s mistake. 

8. Wrong Side of the Bow, Mag: Episode 9

The scene: A soldier attempts to shoot an arrow up The Wall and comes up way short. So one of the giants, Mag the Mighty (the guy who rode on the mammoth) approaches with a very large bow.

The mistake: Mag the Mighty is a right-handed archer, but he shoots the arrow on the wrong side of the bow. It’s a classic Hollywood mistake, but I was expecting more from Game of Thrones.  

On top of that, he has his drawn hand a few inches from his face which is not good form. On his second shot (below), he fixes it by anchoring his bow arm on his face. 

However, the arrow is still on the wrong side of the bow.

NOW: Read Miller's critique of the archery in seasons 1-3 of "Game of Thrones" on goHunt

SEE ALSO: The "Game of Thrones" finale leaves out a huge storyline from the books

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She may be in hot water with Hannibal Pictures, but Sonja Morgan is raking in the dough from her work on Real Housewives of New York City.

According to documents filed in her bankruptcy case, Morgan is set to make $426,500 from the reality TV show. No wonder she was one of the first to sign back onto the show!

Prior to the start of production on season 6, certain cast members refused to sign their contracts over salary disputes. Countess LuAnn de Lesseps was the last one to give Bravo her John Hancock.

The documents filed by Hannibal Pictures, the production company that sued Morgan for failing to raise money for a movie involving John Travolta, states, “Morgan’s current annual gross earned income of $426,500 derived from her employment as a performer on the reality television program The Real Housewives of New York, as reported in her monthly operating reports filed with the Court.”

READ: The Documents Here!

Morgan was forced to file bankruptcy because of the $7 million judgment — which reached a staggering $8.5 million total with interest and attorneys’ fees included, RadarOnline.com previously exclusively reported.

Judge Rita Miller not only upheld the financial settlement, but she also gave Hannibal Pictures an additional year to enforce a lien on Morgan’s earnings and assets.

SEE ALSO: 'Real Housewives Of New Jersey' Couple Admit To Financial Fraud

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Summer TV was once reserved for reruns and replacement series. No more. Now, some of the most innovative and original programming debuts, while other excellent shows return for their second season. From director Steven Soderbergh’s highly-anticipated period drama, The Knick, on Cinemax, to undiscovered comedy gems like Nathan for You, on Comedy Central, to sci-fi thrillers like The Leftovers (photo above), on HBO, we present ten shows you’ll be talking about long into the fall.

DRAMAS

Masters of Sex (Showtime, July 13)

Where will Dr. William Masters (Martin Sheen) conduct his sex research now that he’s lost his, ahem, position at the university hospital? That question hangs over the season two premiere of this excellent period piece loosely based on the true story of Masters and his assistant Dr. Virginia Johnson’s investigation into the sexual tastes of the prudish 1950s. The show was voted a 2013 top ten pick by The American Film Institute.

Manhattan (WGN America, July 27)

The story of The Manhattan Project—the World War II race to build the first atomic bomb before the Germans—has been told many times but never in a TV series. We’re looking forward to the combo of history and mystery from director Thomas Schlamme, who knows a thing or two about government and politics. He’s a veteran of The West Wing. Stars John Benjamin Hickey from The Big C.This baby can’t possibly bomb.

The Knick (Cinemax, August 8)

Director Steven Soderbergh’s ten-part series is the most highly anticipated show of the summer TV season. It stars Clive Owen as a doctor who works in a turn-of-the-century New York hospital performing experimental surgery to save lives—in the days before anesthesia and antibiotics. Drenched in period atmosphere and not for the squeamish, The Knick (short for The Knickerbocker Hospital) is destined to be the next big binge hit.

SCIENCE FICTION

The Leftovers (HBO, June 29)

Rapture? Alien abduction? Rift in the space-time continuum? The Leftovers will have you tossing at night trying to guess what caused the mysterious disappearance of two percent of the world’s population. Survivors live in chaos. The show is based on the thought-provoking novel by Tom Perrotta. Bleak? Sure. But when The New York Times describes a book’s plot as “the best Twilight Zoneepisode you never saw,” you know it’s got the goods to be good TV.

Under the Dome (CBS, June 30)

Based loosely on a 2009 Stephen King book, Dome was a big hit out of the box last season before ratings started to slide. Paging Stephen King. The great horror author himself personally penned the season two opener. That’s reason enough to watch. The series follows the lives of ordinary people in a small Maine town. The sci-fi twist? They’re trapped under a massive, invisible, inescapable dome. That means no communication with the outside world. Tell your friends about it.

Extant (CBS, July 9)

After returning home from a 13-month solo mission in outer space, astronaut Molly Woods finds herself inexplicably pregnant. But how? And more important here, with what? The star power of Extant alone is worth the mission—Halle Berry plays Woods. Steven Spielberg produced. Join the crew.

The Strain (FX, July 13)

More vampires? Yes, but director Guillermo del Toro (Pan’s Labyrinth) brings his original take to the tale. Del Toro’s bloodsuckers are infected with an ancient virus and they’re spreading it around town. The Strain is more like the smartly unsettling 28 Days Later than the Southern gothic True Blood. Camp and romance are out. Terror is back.

COMEDIES

Almost Royal (BBC America, June 21)

BBC America’s first original “scripted” comedy. We say “scripted” because the series leaves plenty of room for improvisation. Almost Royal is in the tradition ofBorat—you know, Brit twit gets embarrassingly entangled in American culture, makes everyone squirm, and makes us laugh at the other guys. But this variation stars a brother and sister of modest nobility who are touring the USA to find a final resting place for their late father’s ashes. It’s a royal riot, guv’nor.

Nathan for You (Comedy Central, July 1)

Can season two of Nathan for You get any more bizarre? We hope so, because the more this under-the-radar reality-comedy pushes the oddball envelope, the better. Canadian comic Nathan Fielder is one-of-a-kind, and so are the publicity stunts he pulls to help small businesses gain attention. If you’re familiar with Fielder’s “Dumb Starbucks” event in L.A. earlier this year, you’re in the cool club.

Brooklyn Nine-Nine (Fox, September TBD)

Okay Nine-Nine is really a fall show, but season two kicks off—strong—when the calendar still says summer. Winner of the 2014 Golden Globe for Best TV Comedy Series, the on-set chemistry of this police action-comedy clicks and adds layers of wackiness. Andy Samberg is just this side of wiseguy charming and the comedy chops of precinct boss Andre Braugher continues to surprise all of us who had him typecast as a heavy from his Homicide days.

SEE ALSO: The Most Important TV Premiere Dates This Summer And Fall

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Warning: Spoilers about "Game of Thrones" season 4 are ahead.

With its many battles, trials by combat, and all out wars, season four of HBO's "Game of Thrones" was one of the most visually spectacular shows on television this past season — all thanks to the series' amazing visual and special effects.

Some of these effects especially stand out, like those featured in the attack on The Wall in the ninth episode "The Watchers on the Wall." However, a season 4 VFX reel by one of the series' visual effects artist Calvin Romeyn, which has since been made private, shows that some of these effects were a bit harder to see.

For example, those flaming arrows shot back and forth between the Night's Watch and The Wildlings during the attack were digitally added.

Another minor effect you may have not noticed was how the missing fingers of Davos Seaworth (Liam Cunningham) weren't missing at all.

Using green covers on each finger and standing in front of a blue screen allowed Cunningham to be in the Iron Bank of Braavos with four less digits.

Visual effects also played a big part in many major moments of the season.

Effects helped render the dying, poisoned face of King Joffery in episode two, "The Lion and the Rose."

Digital rendering also helped to make Prince Oberyn's head smash look even more gruesome in the trial by combat from episode eight ("The Mountain and the Viper").

Finally, one of the most shocking moments from the season — when Petyr "Littlefinger" Baelish pushes his new bride Lysa Arryn to her death in episode seven ("Mockingbird") —was done thanks in part to special effects and a green screen positioned within the set.

To check out more from visual effects artist Calvin Romeyn, click here.

SEE ALSO: 8 Archery Mistakes In 'Game Of Thrones' Season 4

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Andi Dorfman, former Assistant District Attorney. Us Weekly can confirm that the season 10 Bachelorette has resigned from her post as Assistant District Attorney in Fulton County, Georgia.

A source tells Us that Dorfman, 27, recently quit and has no plan to return. The news of the Bachelorette's departure was further confirmed by the DA's chief of staff Maria Robinson to the Atlanta Journal Constitution on Monday, June 16.

According to the paper, Dorfman gave no indication on what she plans to pursue after her season of the smash reality series finishes airing.

Dorfman's LinkedIn profile says the Wake Forest Law School grad joined the Fulton County office as an assistant DA back in November 2012.

In her "25 Things You Don't Know About Me," Dorfman told Us that she was fascinated by crime shows like Law & Order: SVU and Forensic Files. Added the Bachelorette, "I'm obsessed with Scandal. Sometimes I find myself pretending to be Olivia Pope."

According to the AJC, Dorfman was granted a leave of absence by her boss, District Attorney Paul Howard, in February. At the time, Dorfman's request was called "unusual" by Howard, but cleared, allowing her to return. The leave of absence was unpaid, and according to the AJC, Dorfman was to return to her post by May 31.

In the season premiere of The Bachelorette, Dorfman briefly touched on her job. "I put the bad guys away," she explained. "I love fighting crime. It's empowering." She went on to say she's thrilled by the possibility of finding her "one true love" on national TV. "Falling in love should be fun," Dorfman quipped. "I don't know what I did to deserve 25 men to want to fly across the country to meet me."

Bachelor franchise host Chris Harrison described Dorfman's no-fuss attitude and background as "a breath of fresh air" to the show. "She handles her business very well," Harrison told Parade in April of the Atlanta-based reality star.

SEE ALSO: 'Bachelorette' Contestant And Adventurer Dies In Tragic Paragliding Accident

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Before creating "Game of Thrones," author George R.R. Martin was a huge comic book fan.

So much so that, in 1963, then 15-year-old Martin wrote a letter to Marvel complimenting Fantastic Four #17, saying the issue was "absolutely stupendous" and that he found it impossible to even describe it.

The letter was addressed to Stan Lee and Jack Kirby, Marvel's co-creators.

Marvel responded to the young Martin's letter, writing below it: "We might as well quit while we're ahead. Thanks for your kind words, George."

Martin would later go on to tell Rolling Stone that letters like the one he sent to Marvel helped him get into writing, saying: 

"When Marvel hit with the Fantastic Four and Spider-Man, I started writing letters — all those books had letters columns — and a few of them got printed. In those days when they printed your letter they put your whole address in it. People started seeing my address and I got letters from other comic fans around the country, and I started getting fanzines. Then I thought, 'Hey, I could write something for these fanzines. They're pretty bad; I could write something just as good as that.' I did, then my stuff started getting published."

Marvel recently posted Martin's original 1963 letter to their site. Check it out below:

SEE ALSO: Why George R.R. Martin Will Likely Need Another Book To Finish The ‘Game Of Thrones’ Saga

MORE ON A MARVEL SAGA: This Genius Helped Create The Avengers, X-Men, Captain America, Hulk, And Thor — And His Family Wants To Get Paid

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Warning: Spoilers about "Game of Thrones" season 4 are ahead.

With its many battles, trials by combat, and all out wars, season four of HBO's "Game of Thrones" was one of the most visually spectacular shows on television this past season — all thanks to the series' amazing visual and special effects.

Some of these effects especially stand out, like those featured in the attack on The Wall in the ninth episode "The Watchers on the Wall." However, a season 4 VFX reel by one of the series' visual effects artist Calvin Romeyn, which has since been made private, shows that some of these effects were a bit harder to see.

For example, those flaming arrows shot back and forth between the Night's Watch and The Wildlings during the attack were digitally added.

Another minor effect you may have not noticed was how the missing fingers of Davos Seaworth (Liam Cunningham) weren't missing at all.

Using green covers on each finger and standing in front of a blue screen allowed Cunningham to be in the Iron Bank of Braavos with four less digits.

Visual effects also played a big part in many major moments of the season.

Effects helped render the dying, poisoned face of King Joffery in episode two, "The Lion and the Rose."

Digital rendering also helped to make Prince Oberyn's head smash look even more gruesome in the trial by combat from episode eight ("The Mountain and the Viper").

Finally, one of the most shocking moments from the season — when Petyr "Littlefinger" Baelish pushes his new bride Lysa Arryn to her death in episode seven ("Mockingbird") —was done thanks in part to special effects and a green screen positioned within the set.

To check out more from visual effects artist Calvin Romeyn, click here.

SEE ALSO: 8 Archery Mistakes In 'Game Of Thrones' Season 4

Join the conversation about this story »

Game of Thrones showrunners David Benioff and D.B. Weiss recently sat down with EW and broke down how they are planning to put the upcoming Season 5 of their hit fantasy series together. The next run of episodes will be pulled from the fourth and fifth novels in George R.R. Martin's Song of Ice and Fire saga: A Feast for Crows and A Dance with Dragons. They both take place at roughly the same time, but focus on different characters chronicled in the series.

When asked to give their take on next season, this is what they had to say.

They go on to discuss their relationship with writer George R.R. Martin.

A recent casting breakdown leaked that Game of Thrones Season 5 will include the Dorne storyline, and that certain parts of the show will take place in Spain.David Benioff and D.B. Weiss confirmed that is true.

SEE ALSO: 'Game Of Thrones' Is Officially The Most Popular Show In HBO History

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The "#RichKids Of Beverly Hills" became the E! network's break out reality show of the season and has already been picked up for a second season debuting this August.

In true E! fashion, the network has also placed an order for a spin-off show in Manhattan, aptly titled "#RichKids of New York."

E! describes the show, which will feature "kids" with a more entrepreneurial spirit, as follows:

“#RichKids of New York” features a whole different kind of “rich kid.” These 20-somethings are just as wealthy, beautiful and fabulous – but with their own unique entrepreneurial drive. These #RichKids are using their bank roll to build their own empires in The Big Apple. They’re educated, elitist and connected; reigning over a city where it’s not just what you own, but who you know. Despite their east coast pedigrees and privilege, these rich kids are brash, unfiltered scenesters, who love to cocktail, party, and make fun of themselves and each other.

While offspring of millionaires and billionaires make up the west coast cast, the east coast cast is still a mystery — until now, sort of.

Last week, Business Insider caught a production crew taping a show labeled "Rich Kids Of New York" at Harding's restaurant in New York's Flat Iron district.

While we're told the cast has not been solidified, it appears the girls below are at least up for the gig — or are friends with people who are.

Eyewitnesses tell us conversation centered around Instagram, a floral head crown business one of the girls started, and another's head-to-toe Chanel outfit.

E! declined to comment, so Internet, we turn to you. Does anyone have any leads as to who may be part of the new cast?

Contact entertainment@businessinsider.com with any info.

Below is the current cast of "Rich Kids of Beverly Hills."

SEE ALSO: Meet The Six 'Rich Kids Of Beverly Hills' In The Jaw-Dropping Premiere Episode

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Fox News anchor Megyn Kelly took yet another Iraq War architect to task on Thursday, this time calling out former United Nations ambassador John Bolton for saying that America's entry into the conflict is "irrelevant" at this point.

Kelly was actually pretty even-handed during the segment, which featured both Bolton and conservative attorney Andrew McCarthy. She suggested that both the 2003 invasion and the 2011 withdrawal are twin causes for the deteriorating situation in Iraq.

But when Bolton said that past decisions are "irrelevant to the circumstances we face now," Kelly got animated.

"I know, you keep saying that but it actually is relevant to a lot of people out there who are wondering, 'How did we get here?' Is it not relevant to ask, 'How did we get here?'" she asked.

"Well, it's very interesting, but the decision-maker has to look at the environment we have now," Bolton responded, saying it's for that reason he is opposed to President Obama's plan to send 300 military advisers to Iraq.

Kelly wasn't done talking about Bolton's role in the military misadventure.

"You know that a lot of people are out there tonight saying, 'Well, weren't you one of the people who was in favor of going into Iraq in the first place and Is that why you don't want to discuss the past ten years and whether they were worth it?'" she asked.

Bolton said he would be “happy to discuss the past 10 years and we can start 10 years before that if you want,” but he stressed that it's "not the question that America faces today."

The exchange came a day after Kelly's hard-hitting interview with Dick Cheney, during which she told the former vice president that he "got it wrong" on Iraq.

It's a familiar role for Kelly, a former lawyer. While she's certainly done her part to uphold Fox's ideological orthodoxy, Kelly has also distinguished herself from her colleagues by occasionally grilling some conservative guests.

She even went after Fox News contributor Erick Erickson last year after he lamented the rise in breadwinning mothers.

“What makes you dominant and me submissive and who died and made you scientist in chief?” Kelly asked Erickson in a memorable interview.

Kelly told the Washington Post last year that she's "not a political person." Her fellow Fox News host Bill O'Reilly made a similar point earlier this week, telling a gathering at the 92nd Street Y in New York City that Kelly is "not an ideologue."

SEE ALSO: Megyn Kelly Grills Dick Cheney: 'History Has Proven You Got It Wrong'

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SEE ALSO: Megyn Kelly Grills Dick Cheney: 'History Has Proven You Got It Wrong'

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Sunday night, when Matthew McConaughey accepted the award for Best Actor in a Drama Series at the Critics' Choice Awards for his role in "True Dectective," he addressed a question he — and probably many other big actors — get asked all the time: "Why did you make the move from film to TV?"

McConaughey said it was an easy answer. 

"Quality. Not only quality that specifically came out of ‘True Detective’ which was quality of the highest, but I’m talking about quality of television today," said McConaughey. "Television is raising the bar on the character-driven drama series. It just is."

"What other medium do you get to have that as actors and writers — that tasty act one which is all that character development that we love?" he continued. "You don’t get that anywhere else. Where else do you get to see that introduction to character so patiently unfold on the screen? ... Plus, you’ve got the weekly episodes. You’ve got the Monday-morning watercooler talk. You’ve got the Tuesday, Wednesday, Thursday, Friday, Saturday, whatever those days are, anticipation of seeing the next episode and I can’t wait to see it. That’s what television has given us as artists and that’s also what television has given us as audiences. I’d say thank you to that."

McConaughey joins a long list of actors who have boarded a television series in the past few years whether in a miniseries or a network series. Kevin Costner and Bill Paxton were a part of History's record-breaking 2012 miniseries, "Hatfields & McCoys," Ashton Kutcher boarded CBS' "Two and a Half Men," and Claire Danes leads Showtime's "Homeland." 

This summer, Halle Berry will appear as an astronaut on CBS' "Extant."

Watch McConaughey's speech below:

SEE ALSO: Why Sony Keeps Making Adam Sandler Movies

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Cindy Holland, Netflix's head of original content, recently gave a rare interview to The Hollywood Reporter to discuss how her small team helps new series come to fruition.

Holland, who oversees 16 employees and a growing portion of Netflix's $3 billion programming budget, "has been tasked with building the company's original series business, which began in 2011 with a $100 million, 26-episode bet on 'House of Cards,'" according to THR.

After an "Arrested Development" revival and the critically acclaimed "Orange Is the New Black" followed, Holland hasn't looked back.

Once Holland's team helps Netflix choose and purchase a show, the exec says it's "a balancing act" trying to help guide production while also granting plenty of creative freedom. Holland explains to THR:

"We view our job as helping support the creators to fulfill their vision, not ours. We view ourselves as the objective outsider. Sometimes in a writers room the mood will shift a certain way, and we'll start to remind people: 'Hey, early on you talked about wanting to explore this dynamic or these characters. Are you still intending to do that?' It's about being supportive and helping to point out things that from the outset the storytellers have expressed a desire to do."

As for advice Holland gives show creators, she says:

"We'll talk to them very early on about how series are consumed on Netflix. I think you can take the time to really develop characters and storylines, and you can go on some pretty interesting tangents and not be too concerned because the viewer will be right back with you in that story in the next hour to two hours. Jenji has commented that with Orange, it gives her the freedom to not have to service all of these characters in every episode, which would be daunting. Another thing we've learned is that if a viewer is going to watch, on average, 2 ½ episodes a night, if you're using similar source music or a lot of music, it can get repetitive."

Holland explains that next up on Netflix's agenda is broadening its comedy content.

"Comedies of varying types are an area of extreme interest to us," Holland revealed. "We're just starting in the comedy space outside of 'Arrested,' and comedies have a more territory-by-territory appeal. So we're doing some experimentation in comedy to see what kind of tailoring we might need to do for different markets."

One person Netflix is hoping will translate? Chelsea Handler, who just signed a deal for a stand-up special in October, followed by four "docucomedies" in 2015 and a talk show in 2016.

To read the rest of Holland's interview with The Hollywood Reporter, click here >

SEE ALSO: Netflix Signs Chelsea Handler To Beat Television At Its Own Game

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With DVRs, streaming, On-Demand services, and illegal downloading, the traditional metrics for what makes a successful television show are all but outdated. "Ratings" as we've come to know them only tell part of the story. NCIS is the highest rated show in the country, but how many times do you see NCIS headlines when you bounce around the web? How many times have you seen NCIS trending on Twitter? How many times has NCIS caused national spoiler paranoia? Probably not many. 

The point being that cultural cache is just as important to show as how many eyeballs watch an episode in its first run. And if being part of the conversation is any indication to what's the biggest show on TV, than Game of Thrones is king.

Google put out its monthly trends roundup, a distilled collection of data aimed at revealing the most googled things on Google, and HBO's medieval fantasy show dominated the TV rankings for the month of May.

(Click through the list, for a more detailed breakdown.)

Google rates every show on a scale of 1-100, with the number one show taking a score of 100, and all other shows scored against that 100. So if you look at the chart, Game of Thrones was the winner by a mile, as the next closest show (American Idol) scored a 46.

Other interesting takeaways from the list:

• Saturday Night Live has been in the top-10 every month for eight straight years.
• Three of the top-five shows are reality competition series.
• The Walking Dead remains in the top-20, despite going off the air in March and not returning until October.
• The four major networks (Fox, ABC, NBC, CBS) only account for three of the scripted shows in the top 20.

SEE ALSO: 'Game Of Thrones' Is Officially The Most Popular Show In HBO History

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Cindy Holland, Netflix's head of original content, recently revealed why the on-demand Internet streaming service responsible for hits like "House of Cards" and "Orange Is The New Black" decided to produce shows with a straight-to-series model, forgoing networks' traditional pilot seasons.

Holland explains to The Hollywood Reporter that the straight-to-series strategy was the result of three key things:

1. "Being necessity because I was a dep­artment of one when we licensed 'House of Cards.'" [Holland now oversees 16 employees.]

2. "Out of wanting to show our commitment to being serious about this business."

3. "When we had the opportunity as outsiders coming into a new business to take a look at what the best practices are at different networks, we were able to try on what works for us and what doesn't. We talked early on about not wanting to develop projects and not wanting to sink money into pilots because even if it's less perfect than you might want it to be, at least you have a full season that you can put in front of your subscribers and there will be people who will enjoy it. I expect that we'll mostly continue that."

Holland explains the only reason Netflix wouldn't continue with a straight-to-series model:

"We've been licensing series from third parties; as we start to get into developing and owning some of our own series, I expect that we'll spend a little bit of money on development. But we, as a group, want to keep a firm mantra of only putting things into the pipeline that we believe we'll actually make. I don't anticipate that we will spend money on pilots; it doesn't seem like an efficient thing for us to do.

It makes complete sense for networks to do it when you're talking about maximizing eyeballs for an hour's worth of time on a given day — there, you need to have a full bench that you can draw from. For us, it's quite a different proposition."

To read the rest of Holland's interview with The Hollywood Reporter, click here >

SEE ALSO: Here's How Involved Netflix Is In The Production Of Its Series'

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Gary Oldman received a lot of flak after a Playboy interview in which the actor sounded off on political correctness defending Mel Gibson and Alec Baldwin and making anti-Semitic remarks.

When he went on "Jimmy Kimmel Live!" Wednesday evening to promote upcoming film "The Dawn of the Planet of the Apes," the actor addressed his comments appearing as if he was on the verge of tears the entire time.

"I said some things that were poorly considered and once I had seen it in print I could see that it was offensive, insensitive, pernicious, and ill-informed," said Oldman. "And words have meaning. They carry weight and they carry on long after you've said them. I don't condone or excuse the words I used, well, in any context. I just basically shouldn't have used them in any context but I did. And, I have deeply injured and wounded a great many people."

"From my heart, I am profoundly sorry and deeply apologetic," Oldman added. "I'm a public figure. I should be an example and an inspiration, and I'm an a-hole. I'm 56 and I should know better." 

The scene was very similar to when Jonah Hill recently went on "The Tonight Show with Jimmy Fallon" to apologize for a homophobic slur he used toward paparazzi.

Kimmel recognized that and told Oldman he understood what he was trying to get at in the Playboy interview.

"You were talking about people being hypocrites," said Kimmel. "People love to jump up on their soap box and take shots at people for saying something when you know a lot of those people are saying certain — not all of them certainly — but a lot of them are."

Kimmel followed up with what he called the "most awkward transition possible" by starting to speak about "Dawn of the Planet of the Apes." In that moment, it's the first time in five minutes Oldman looked relaxed, first swallowing and blinking before cracking a smile and reaching out for Kimmel's hand.

Watch the clip below.

SEE ALSO: 9 outrageous quotes from Oldman's Playboy interview

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Actor Michael Kenneth Williams, best known for playing 1920s bootlegger Chalky White on "Boardwalk Empire" and thief Omar Little in "The Wire," struggled to land any roles until a near-death incident left a long scar on his face, he recently told the NPR radio program "All Things Considered."

Until his 25th birthday, Williams performed as a backup dancer on music videos. But a barroom brawl on his birthday changed the course of his career.

Williams took a break outside the Queens party and saw two friends surrounded by men he didn't know. He told his friends he wanted to leave, but then one of the strangers confronted him from behind. 

"The dude wiped his hand across his mouth and ... smacked me," Williams, 47, told NPR. "What he did was he spit a razor. He was positioning the razor in his mouth to get it between his middle finger and ring finger. And then he swiped me down my face." 

The slash has left a permanent scar running down the center of his face, from his forehead down to his right cheek. 

"The cut on my face was actually the first hit of the fight, so we managed to escape with our lives, barely, that night," Williams explained. "Things changed immediately after that. Directors didn't want me just to dance in videos anymore. They wanted me to act out these thug rolls. They were like, 'Mike, roll these dice in this video! Have this fight in this video!' I was like, 'All right!'" 

Soon he was working on bigger projects. The rapper Tupac Shakur hand-picked Williams for a role as his tough younger brother in the 1996 movie "Bullet." 

"He happened to see a polaroid picture of me and was like, 'Yo, this dude looks thugged out enough' ... I think he saw my pain, my struggle, my heart," Williams said.

Next came major supporting roles on TV shows "Law and Order" and "The Sopranos." But Williams was still waiting for his big break. In the meantime, he lived with his mother and was considering working with her at a daycare she opened in a low-income neighborhood. 

"My phone did not ring and I was down in the dumps," he said. "I got really depressed. Like, really depressed." 

Months later, the big break finally came when Williams received a fax with details about a role he would end up portraying in "The Wire," another tough-guy character named Omar Little who steals from drug dealers. 

"I got to grow with an amazing group of people that I consider my 'Wire' family," Williams said. "That character changed my life. And that was my big break."

"The Wire" role led to many more opportunities, including playing Professor Marshall Kane on "Community" and "Chalky White" on HBO's "Boardwalk Empire." Williams currently has eight TV and movie projects in the works for the rest of 2014.

SEE ALSO: Michael Lewis' New Book Starts Out With The Perfect Quote From 'The Wire'

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Over the last couple of years, the BBC has been dragged through the mud as several of its former top celebrities have been accused of the sexual abuse of underage fans, while the executives around them turned a blind eye. Britain was already horrified when it emerged after the death of DJ Jimmy Savile in 2011 that he had abused hundreds of children, often during his role as a charity fundraiser for hospitals, from the late 1960s onward. (Savile's career with the BBC spanned decades.)

But Thursday the NHS released a report into Savile's activities which makes even that level of abuse look mild: Savile had sex with corpses in the mortuary of a hospital in Leeds and boasted that the gaudy rings on his fingers were made from the glass eyes of the dead, the report says.

Government officials will now turn to the questions of who knew what and when. BBC and NHS executives dating back four decades will be investigated to see if they helped or ignored Savile while they worked with him. The fallout will last years.

Lawyer Richard Scorer, who represents some of the victims, told the BBC:

... what made it even worse was the fact that many of his victims did complain, and those complaints were ignored and dismissed and belittled.

Savile had relationships with dozens of hospitals up and down the country, according to The Guardian:

On Thursday the NHS published the findings of investigations into Savile's activities at 28 hospital trusts, which concluded that he used the NHS and his celebrity status to "exploit and abuse" vulnerable patients and staff at hospitals across the country, including Broadmoor and Leeds General Infirmary. Investigators found he even boasted about having sex with corpses, and had a well known fixation with the dead.

Investigators found that at Leeds General Infirmary, where Savile worked as a volunteer porter, there were at least 60 victims, from five to 75 in age. Mainly teenagers at the time, they included men, women, boys and girls. Thirty-three were patients, and 19 of these were children. Three said they were raped.

Page 96 of one section of the report contains these disturbing witness statements:

And this information about his rings:

Read the entire NHS report here.

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