John Oliver’s Gay Bunny Book Parodying Vice President’s Rabbit Book Tops Amazon Charts

On Sunday night John Oliver announced on HBO’s Last Week Tonight that A Day in the Life of Marlon Bundo, a children’s book about a gay bunny, named after a pet rabbit owned by the family of Vice President Mike Pence, would be available immediately. That meant it beat a rival children’s book, Marlon Bundo’s Day in the Life of the Vice President, written by Pence’s daughter Charlotte, and illustrated by his wife, Karen, by mere hours to the digital shelves.

Why Do People Binge-watch Netflix But Fear Long Plays?

People post on social media how quickly they watched an entire season, not unlike the days when young readers stayed up all night to buy, and then read, each instalment of Harry Potter. Yet when they hear of spending all day in a theatre, the average person will look at you as if you’ve gone mad. Six hours of Peer Gynt, even with intermissions and a dinner break? They react as if you’re a cultural masochist, enduring theatre like some David Blaine stunt.

*Really* Getting Inside The Music: Brian Eno Creates Immersive 3-D Music Installations

“Little colored bubbles float ever higher, growing larger as they rise toward the sky. People drift into a circle of six towering screens, wearing high-tech 3-D holographic visors, like moon-walkers taking their first steps in an alien atmosphere. They reach out their arms and use their thumbs and forefingers to pinch the air in front of them. Each time they do, new bubbles appear, and each one emits a single, precise musical tone. The tones combine and dissipate; there is the sound of crickets chirping, and waves of white noise. This is Bloom: Open Space.”

“Black Panther” Box Office Juggernaut Rolls On

The only previous films to win five straight weekends in the past 20 years are 2009’s “Avatar” and 1999’s “The Sixth Sense.” “Titanic,” from 1997, holds the record, which seems unbreakable in the current quick-to-DVD era; it reigned for 15 straight weekends, according to Box Office Mojo. “Black Panther” is the year’s biggest release by a long shot, having grossed $605 million domestically and $1.18 billion worldwide.

Is Being A Fan Really Worth The Cost?

At first glance, the evidence isn’t encouraging. Following a loss, fans are more likely than usual to eat unhealthy food, [1] be unproductive at work, [2] and—in the case of the Super Bowl—die from heart disease. [3] What about fans of the winning team? Well, their testosterone levels tend to increase, [4] which may account for why triumphant fans are more likely than other fans to suffer a postgame traffic fatality if the score was close. [5]

Amazon’s Unorthodox Formula To Calculate Whether A Streaming Series Was Worth The Cost

While The Man in the High Castle, for instance, had one of the lowest costs per first stream after its first season, $63, that number jumped up to a whopping $829 following the production of Season Two. Mozart in the Jungle season two, despite having one of the studio’s lowest budgets at $37 million, cost $581 per first stream. Feminist cult favorite Good Girls Revolt was singled out as the highest cost per stream: $1,560 against its $81 million season one budget. The show got the axe after one season and just 1.6 million viewers.

How Amazon Measures The Success Of Its Original Series

Amazon execs, Reuters says, believe the first series you watch after signing up deserves the credit for luring you to Prime (whether you liked the show or not apparently doesn’t matter, nor is it clear whether you need to finish a full season of a show for it to count). Unfortunately, Reuters chose to only publish a fraction of the data it says it obtained, making it hard to draw any broad conclusions about the relative success or failure of Amazon shows.

Art Dealers: The Website Is The New Foot Traffic

While dealers say the majority of sales are still consummated in person, often in the framework of long-term relationships, the seeds of those relationships are increasingly being sown online, rather than through traditional routes like art fairs and referrals. The stakes are high: Galleries’ long-term survival may ultimately depend on building up a robust digital presence.