When an actor gets Oscar consideration it means the person did a performance that was extraordinary, and challenged the audience as much as entertained them. It’s hard to think of anything that can be more of an effort by an actor than intentionally acting poorly. But James Franco’s transformation into Tommy Wiseau should not be ignored.

Who is Tommy Wiseau? He’s only the star, producer, writer, and director behind the cult hit, “The Room.” Released in 2003, the movie made for (legend has it) around $6 million of Wiseau’s money, has since been regarded as one of the worst movies ever made. But in Hollywood, a group of stars championed the movie, showing their appreciation for the effort that went into making the indie and applauding Wiseau’s unique filmmaking choices. That led to Franco having the idea to adapt the book recounting the making of “The Room,” written by Wiseau’s best friend and “The Room” costar Greg Sestero.

“The Disaster Artist” is an extremely entertaining look at two friends (Franco playing Wiseau and Dave Franco as Sestero) who decide to make their own movie after the constant rejection at acting auditions. With incredible detail by James Franco of not just playing Wiseau, but making the reenactments of “The Room” — from the crappy set design and costumes to how awful lines were delivered — is incredible. And you don’t have to be a superfan of “The Room” to appreciate it.

I’m not even going to attempt to explain the plot of “The Room,” or what the heck Wiseau was trying to accomplish with it. All I can tell you is that if you are a superfan, Franco gives you a movie that in no way makes fun of it, but cherishes what it has become: a piece of entertainment that people come together in groups so they can collectively enjoy.

And that’s how “The Disaster Artist” should be experienced. There’s no better example of a movie coming out this year that should be seen with a full theater audience. The energy of the room just heightens the experience. And it doesn’t hurt that Franco brought along the talents of his brother and friends like Seth Rogen and Alison Brie to also star in the movie.

I’m not saying “The Disaster Artist” is the best movie you’ll see this year, but it’s certainly the most fun.

“The Disaster Artist” opens in theaters in limited release Friday and December 8 nation wide.

Here's the trailer:

SEE ALSO: Guillermo del Toro's "The Shape of Water" is a moving monster story — and will definitely get Oscar attention

Join the conversation about this story »

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We'll never let go.

It's been 20 years since one of Hollywood's most doomed love stories hit the screen and audiences fell in love with Celine Dion's "My Heart Will Go On."

To celebrate the momentous anniversary, "Titanic" is returning to theaters. Beginning on December 1, the film will be re-released at AMC theaters. The 20th anniversary re-release celebration will take place for one week.

The nearly 3.5-hour movie is one of the highest-grossing movies of all time, dominated the 1998 award season, and continues to make lists of top movies to see in your lifetime.

Since its premiere in December 1997, the cast of "Titanic" has taken on several more award-winning roles, and Kate Winslet and Leonardo DiCaprio have maintained their friendship. 

Keep reading for a look at how the star-studded cast looked then, what they look like now, and what they've been up to in between.

SEE ALSO: THEN AND NOW: The cast of 'Love Actually' 14 years later

Leonardo DiCaprio played the adventurous vagabond artist, Jack Dawson.

Jack falls in love with Rose and eventually meets his demise in the chilly waters of the Atlantic floating on a door. 

Director James Cameron recently defended his movie ending saying Jack had to die despite years of fans insisting he and Rose both could have fit on the door.

Since "Titanic," Leonardo DiCaprio has starred in several critically acclaimed films including "The Departed,""Inception,""The Wolf of Wall Street," and "Revolutionary Road," which he played alongside Kate Winslet. He also finally won his first Oscar in 2016 for his work in "The Revenant" after years of jokes and memes.

DiCaprio is also active in education about climate change and most recently attended the 2017 People's Climate March in protest of President Trump.

Kate Winslet played the rebellious upper-class 17 year old, Rose DeWitt Bukater.

Rose falls in love with Jack despite her engagement to the arrogant Cal Hockley. 

Pixar has been wowing audiences with its groundbreaking animated shorts since the late '80s, often spearheaded by CEO John Lasseter.

The studio's latest feature film "Coco" skipped the traditional Pixar short and opted for a far less popular "Frozen" holiday featurette from Disney Animation Studios. Nonetheless, let's take a look back at all the highly successful Pixar shorts through the ages.

Keep reading to see how each Pixar's shorts rank when compared to one another.

SEE ALSO: Pixar wins again with 'Coco,' which is beautifully told and culturally conscious

19. "The Adventures of André and Wally B." (1984)

Made in 1984, while "Pixar" was still a division at LucasFilm called The Graphics Group, this short was revolutionary for its time. But the brief story of André being woken up by a bee, running away, and then getting stung by said bee, doesn't hold up to the storytelling standards Pixar would later set.

18. "Red's Dream" (1987)

Another of John Lasseter's earliest animated works, "Red's Dream" tells the melancholy story of an anthropomorphized unicycle who dreams of juggling in the circus. Though this short has the early inklings of Pixar's knack for drawing emotions from inanimate objects, the creepy clown detracts from its appeal all these years later.

17. "The Blue Umbrella" (2013)

This is one of Pixar's least-memorable shorts, though the animation of two colorful umbrellas in a sea of black is gorgeous. But the boy-meets-girl trope is overwrought. Pixar has proven its team is capable of more originality than the tale of two umbrellas falling in love. 

As movie ticket prices continue to climb and streaming platforms strike bigger and better deals with distributors, laptops are quickly becoming the modern movie theater.

From nature documentaries to slasher flicks, there's a little bit of everything at your digital disposal.

And we are a music blog, so what follows is an attempt to highlight some of the best documentary offerings available from your very own couch, with nothing more than a borrowed password.

Here are 10 movies on Netflix that every music lover should watch.

SEE ALSO: Jay-Z and Kendrick Lamar lead with the most 2018 Grammy nominations — here's the complete list of nominees

"Stretch and Bobbito: Radio That Changed Lives"

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Year released: 2015
Director: Bobbito Garcia

In the early '90s, few radio stations embraced hip-hop like "The Stretch Armstrong and Bobbito Show." Their time on-air started as a college radio hobby for two hip-hop obsessives, but this was New York City's so-called golden age, and the show quickly became a mecca for young artists looking to cut their teeth live on air.

Some of those artists became legends. This documentary's interviews tell the story: Jay Z, Nas, Raekwon, Busta Rhymes—the list goes on, each artist indelibly changed by their time on-air with Stretch and Bobbito. From interviewing a 16-year-old Christopher Wallace to introducing Nas to the world before Illmatic, rap's history book owes these two a paragraph or two. This doc is the proof, a long-deserved victory lap for two of music's unsung heroes.

"What Happened, Miss Simone?"

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Undoubtedly one of the greatest entertainers of all time, Nina Simone lived a life of absolute honesty, fearlessness, and melodic brilliance. Liz Garbus’s biographical documentary shares the story the singer, pianist, and activist from the beginning of her compelling career to its unfortunate end.  

The doc explores the mental illness, racism, sexism, domestic violence, and other obstacles Nina endured throughout her life. She’s received countless accolades and consequential fame, but more than legendary status, she sought equality. Simone became the activist voice of her time, defining her sound as “civil rights music.” She cracked monocles and raised awareness with songs like ‘Mississippi Goddam" and "To Be Young, Gifted, and Black."

The film was nominated for an Academy Award for Best Documentary Feature, and Liz Garbus took home an Emmy this year for "Outstanding Documentary Or Nonfiction Special." Simone's story might not have a fairy tale ending, but it's one worth knowing. 

"Chasing Trane"

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Director: John Scheinfeld

We talk about hip-hop a lot on this site, but there are certain kinds of greatness that transcend genre. John Coltrane provokes praise from anyone who cares about music. John Scheinfield's 2017 biopic does much to educate modern audiences on the life and times of Coltrane, featuring interviews with a wide swath of subjects that include former president Bill Clinton, Common, Coltrane's immediate family, and a host of friends and biographers.

Speaking on his early relationship with music, biographer Ashley Kahn says, “It’s almost like he hangs onto the music like a life preserver.” In both somber and exalting tones, Chasing Trane dives deep on the talent, drive, and mind of one of the greatest musicians of the last century.

• John Nelson, the Oscar-winning visual effects supervisor on "Blade Runner 2049," walks through how he made a CGI version of the franchise's memorable Rachael character for the movie.
• The process took a year of trial and error, which was all done under secret shooting sessions and a code name.
• Sean Young, who played the character in the original movie, was also brought on to supervise.

With a total of 1,200 visual effects shots in “Blade Runner 2049” — that comes out to 1:45 of the movie’s total running time of 2:43 — Oscar-winning VFX supervisor John Nelson and his team logged in major hours to go a step beyond the 1982 original movie’s legendary sci-fi look.

But there was a particular scene in the movie that Nelson and director Denis Villeneuve paid special attention to.

Toward the end of the movie when Deckard (Harrison Ford) meets Niander Wallace (Jared Leto), he is offered something very near and dear to him in exchange for information on where Wallace can find the only known child replicant. From the shadows appears Rachael, played by actress Sean Young, the beautiful replicant who is also Deckard’s love interest in the original movie. For the “2049” scene, Rachael looks like she hasn’t aged a day from when we saw her in the original movie, and that’s because Nelson and his team pulled off a flawless CGI version of Young to bring back the character for the sequel.

This is just the latest example of recent major blockbuster movies using computer graphics to de-age an actor. We’ve seen it with Kurt Russell in “Guardians of the Galaxy Vol. 2,” Johnny Depp in “Pirates of the Caribbean: Dead Men Tell No Tales,” Robert Downey Jr. in “Captain America: Civil War,” and Michael Douglas in “Ant-Man.” That's not even counting “Rogue One,” in which a younger version of deceased actress Carrie Fisher appears in her Princess Leia role and Peter Cushing, who had been dead for 22 years at the time of the movie’s release, shows up in CGI form reprising his Governor Tarkin role from “Star Wars: A New Hope.”

Nelson and Villeneuve were aware of most of these past VFX landmarks, but felt they could go a step beyond those. Nelson was tasked to make the best CGI human ever put on screen yet.

“I looked at all the digital human work and for the most part I could see where it all falls down,” Nelson told Business Insider. “We tried to build on the shoulders of everything that had been done before us.”

What Nelson found was that it’s not enough to use motion capture to create the face you want to portray. There are small details to include that can’t be ignored to pull off the task. But it took him a year of trial and error to realize that.

Here’s how CGI Rachael was achieved:

Creating the digital skull

Rachael was given the code name “Rita” during filming, and the scene was done often with a very small crew to ensure that what was being done would not get out to the public.

Nelson and his team started by creating a digital skull of the Rachael character. They scanned Young’s head and then were able to find a life cast of her that was done a few years after the original “Blade Runner." By combining both they created a CGI skull of her. Nelson and his team than began de-aging the CGI head using footage from the original “Blade Runner” as a guide.

Shooting the scene with a body double and Sean Young’s guidance

While all of that was going on, back on set Villeneuve shot the “Rita” scene with Ford and Leto. Actress Loren Peta was brought on as the Rachael body double. With Nelson and Young also on hand, the scene was done with dots all over Peta’s face, which would be needed when the footage went through the motion-capture phase. Peta’s face would be erased, and CGI Sean Young would be inserted.

“Sean would be sitting with Denis and they’d be talking about Loren’s performance as Rachael,” Nelson said. “She would advise him on the movements and the looks of Rachael. ‘I would have done it this way or that way,’ she would tell Denis.”

Back to the drawing board

At this point Nelson took the footage shot and inserted what they had done with CGI Rachael, and showed what they had to Villeneuve and the producers. But no one was that impressed.

“They were like, ‘Well, it really looks like a woman that looks a lot like Sean Young, but it doesn’t look like Sean Young,’” Nelson recalled. “So I went back to the drawing board.”

Nelson went even deeper, and that’s where he found pay dirt.

“What I found is it's her imperfections that make her beautiful,” he said. “Her eyes are not symmetrical, her eyes actually stick out of her head a little more than most people. We studied how makeup was done when 'Blade Runner' was made. In fact, we went to every woman on the crew and asked about how makeup was done in the 1980s. We learned about the right shade of lip stick. Just subtle things from the first movie that we could put into our Rachael.”

Nelson went back to Denis and the producers with four scenes from the original “Blade Runner” and inserted CGI Rachael into a single shot in each scene. But he didn’t tell them what he did.

“The producers and Denis were like, ‘John, this is great but why are we looking at the first movie?’ and I told them what I did and they couldn’t tell, they actually got upset,” Nelson said. “They were like, ‘Why didn’t you tell us?’ And I was like, ‘Isn’t that the point? It’s supposed to be like the real thing.’”

• "Coco" wins the domestic box office for a second-straight weekend with $26 million.
• A24 is capitalizing on the pre-"Star Wars: The Last Jedi" weekends by releasing award season contenders "Lady Bird" and "The Disaster Artist."

Disney/Pixar's "Coco" has followed up its Thanksgiving weekend dominance at the domestic box office with a repeat win.

The heartwarming tale of a boy's journey to the Land of the Dead took in an estimated $26 million its second weekend, according to Exhibitor Relations, easily beating "Justice League" once again. The Warner Bros./DC Comics movie is taking a nose-dive, dropping 60% from last weekend and only taking in $16.5 million.

But for the real highlights from this weekend you have to look beyond the top two performers.

The Julia Roberts drama "Wonder" continues to be the surprise success story of the season as it came in third place with $12.5 million. That gives the movie a domestic total of $88 million, a figure most in Hollywood didn't think the film would come close to after three weeks in theaters (its budget was $20 million).

The trick has been the flood to theaters with students at the matinee showings. Lionsgate really pushed the idea of teachers taking their kids to the movie for a field trip to highlight its anti-bullying message. It's paid off big time for Lionsgate.

Then there's the run distributor A24 is on. The company behind the best picture Oscar win for "Moonlight" is looking to take advantage of these few weeks before "Star Wars: The Last Jedi" opens. A24's releases "Lady Bird" and "The Disaster Artist" are hot tickets at arthouse theaters.

In its fifth week in theaters, the coming-of-age drama "Lady Bird" is now playing in over 1,000 screens and is using the long tail word of mouth approach — and news that the movie is now the best reviewed title of all time on Rotten Tomatoes — to build up a total domestic gross to date of $17 million (the movie was made for close to $10 million).

The movie's Oscar hopes will only increase its box office as the company slowly continues to expand the movie to other cities through the end of the year.

Then there's "The Disaster Artist", a very different movie from "Lady Bird", but A24 will use a similar model for its release. The retelling of Tommy Wiseau's stranger-than-fiction journey to make, "The Room," considered one of the worst movies ever made, stars James Franco who is also the director.

Opening on only 19 theaters this weekend ("Lady Bird" started its run on just four screens), the movie took in $1.2 million— that's $64,254 per screen. This is another title that will only increase in popularity as the weeks go on.

But when "The Last Jedi" opens, it might be game over in regards to any other wide release making big numbers for the rest of the year. When the latest "Star Wars" movie opens December 15, it won't just earn a lot of coin, but could cement Disney's dominance at the box office for the rest of 2017.

It's possible a Disney title will be the winner of the domestic box office from last weekend until the final weekend of December. It would be a combination of "Coco" wins up until "The Last Jedi" opens and then dominance by the space saga the rest of the year.

That would be six-straight weekends of Disney titles taking the No. 1 spot.

SEE ALSO: A body double, CGI skull, and secret filming sessions: Inside the yearlong process to bring this beloved character to the "Blade Runner" sequel

Join the conversation about this story »

NOW WATCH: 10 things you missed in the 'Avengers: Infinity War' trailer

• Pixar's new movie, "Coco," was paired with a 21-minute "Frozen" short.
• People really hated it, especially because of its length.
• Disney is reportedly telling theaters to stop showing the short starting Friday.
• The short had already been pulled from theaters in Mexico.
• Disney told Entertainment Weekly that "Olaf's Frozen Adventure" was always planned as a limited run.

Moviegoers were extremely vocal over their hatred of the 21-minute "Frozen" short playing in theaters before Pixar's "Coco." But soon people won't have to worry about how "Olaf's Frozen Adventure" might affect their movie experience: The short will leave theaters starting Friday.

The first report of this news came from a Reddit post in the /r/movies community. The Redditor NateDoggCata wrote a post describing working at a movie theater and having just received the following notice from Disney:

"Please note that the run of 'Olaf's Frozen Adventure' playing before 'Coco' will end after December 7. Starting on Friday December 8 no more Olaf shorts should be up on screen. With the extra 22 minutes of running time back, we would appreciate if you could get in an extra show if possible."

Mashable's Adam Rosenberg published a report on the news, citing "sources familiar with the matter."

But according to a report from Entertainment Weekly, "Olaf's Frozen Adventure" had always been planned as a limited theater release.

"This was always promoted as a limited run so it's not really a story — the end of our Olaf theatrical play is coming next week,"a Disney representative told EW. "All our ads and messaging called it as such."

Disney did not immediately respond to INSIDER's request for comment.

Movie theaters in Mexico had already reportedly chosen to end showings of "Olaf's Frozen Adventure" weeks ago after a flurry of customer complaints.

Why people had such strong reactions to the "Frozen" short

The short itself would be enjoyable for anyone who liked the original "Frozen" movie. It tells the story of Olaf as he tries to help Elsa and Anna find a holiday tradition.

The issue most people took with "Olaf's Frozen Adventure" was its length. Disney wasn't overt about the length of the short in its advertising, but at about 21 minutes long the "short" was more akin to a full episode of a children's show, resulting in a lot of confusion for moviegoers.

"The short has been nothing but a pain in the a-- and nonstop complaints from customers, and rightfully so," the Redditor NateDoggCat wrote in his post. "We even put up notices on the box office window, concession stands, and the door to the theater, and we are still getting complaints."

Pixar movies typically have original shorts played before them in theaters, but those usually cap at about six minutes. For more on the reasons behind the strong reactions to "Olaf's Frozen Adventure,"read our full breakdown of the controversy here.

SEE ALSO: 'Coco' dominates a quiet weekend at the box office

Join the conversation about this story »

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Although TV shows and movies have been doing a better job recently of depicting mental illness in a more accurate way, not all of them hit the mark.

That’s a concern because it’s dangerous for fictional stories to misrepresent the realities of mental illness. Negative portrayals can contribute to the stigma surrounding mental illness, making those who need it less likely to seek help, according to a 2008 study in Journal of Health Communications. The way these fictional characters experience and cope with mental illness can directly affect the way real-life people understand and react to the conditions.

To learn more, INSIDER spoke with the author of "How Fantasy Becomes Reality,"Karen Dill-Shackleford, an expert on the ways film, TV, and books influence people’s real lives about the tropes that some media puts out that can skew how people via people with mental illness.    

Mentally ill people are peculiar and dangerous

In many instances, TV shows and movies do not present the mentally ill in a positive, or even sympathetic, light. In fact, a 20-year study in the Journal of Health Communication determined mentally ill characters were often depicted as peculiar and dangerous. It’s easy to say the villain commits crimes because he’s "crazy" without going into a nuanced explanation of mental health at all.

For instance, when "Scandal’s" Olivia Pope murders a particularly vile man, her sudden outrage appears to be caused by PTSD. Because of flashbacks to past trauma, she’s depicted as having violent, out-of-control reactions to certain triggers. This is only one example of the way the mentally ill are often misrepresented, as noted in Psych Central.

"This can perpetuate stigma about mental illness, which often keeps people from seeking help for fear that they'll be judged and shunned," said Dill-Shackleford.

In reality, approximately one out of five US adults experience mental illness over the course of one year, according to the National Alliance on Mental Illness. Mental illness is commonplace, and the vast majority of people who deal with the conditions do not lash out with violence or very strange behavior. Plenty of people manage anxiety, depression, and other disorders all the time, while maintaining "normal," peaceful lives.

Mental health professionals are wacky or evil

If you’ve watched enough movies and shows, then you’ve probably encountered the wacky therapist character. Just think about the bumbling but lovable psychologist Richard Dreyfuss plays in "What About Bob?" He is, to put it lightly, not the most helpful of professionals. In many instances, the mental health professionals are shown as buffoons.

But more insidiously, the mental health professional in a show or movie is often shown as an evil character. According to a 2008 study in the Journal of Health Communications, the media images of psychiatrists often show them as crazed, cruel, and unethical. As an example, just remember that one of the most villainous characters of all time, Hannibal Lecter, is, in fact, a psychiatrist. And a cannibal.

To be sure, there are many instances of abuse and mistreatment in the history of psychology and some present-day psychotherapists and counselors do more harm than good, unfortunately. But on the whole, the vast majority of psychotherapists, psychologists, and psychiatrists are just regular people who want to help others work through their problems.

Presenting these people as scary, or even evil, can scare those off who should seek treatment.

Self-diagnosed conditions are accurate

Even people who don’t watch BBC’s "Sherlock” are likely familiar with this quote. At one point in the show, Benedict Cumberbatch as Sherlock Holmes says "I'm not a psychopath, I'm a highly functioning sociopath."

It’s a cool line, sure, but it doesn’t necessarily ring true to the character.

As Dill-Shackleford said, "A true sociopath has knowledge about right and wrong and feelings about right and wrong in two different hemispheres of their brain. That results in them not feeling that something is wrong, so they do it. Sherlock is not a sociopath. He is rude.”

She further noted that Sherlock does display empathy toward his coworker Molly by apologizing for behaving rudely. Plus, individuals with sociopathy can be dangerous and manipulative, whereas Sherlock is generally neither of those things.

Essentially, even if a character claims to have a particular condition, it may not necessarily be the case.

Not everything on television is portrayed as accurately as it may occur in real life. Obviously, this is true in the case of sci-fi shows like "The Walking Dead" or "The Handmaid’s Tale" (well, hopefully), but sometimes even shows that are supposed to be realistic can’t quite get certain things right.

When it comes to mental illness, many TV shows have a hard time really hitting the nail on the head. Not only is that discouraging, it’s also damaging.

Those who suffer from mental illnesses may have to see their conditions play out on the small screen in ways that are exaggerated, inappropriate, or just plain incorrect. Representation matters, especially when considering the strength of the stigma surrounding mental illness. Not only do those who deal with mental illness have to face a society that villanizes them and prevents them from receiving adequate health care, they also have to deal with visual media that mocks them or degrades them.

But these seven shows are encouraging to those who may struggle with their own mental health issues, making sure that their characters are portrayed accurately and without perpetuating the stigma.

"This Is Us"

Obviously, every episode of "This Is Us" comes with a fair warning: grab the tissues. Sometimes the episodes are circumstantially sad, maybe because of emotional wedding vows or tragic losses, but it can also be because of just how relatable the characters’ struggles really are.

In a particularly powerful scene, the NBC hit took on panic attacks and showed Randall (Sterling K. Brown) as he attempted to get through one while talking on the phone with his brother. Randall shook, sobbed, and struggled to breathe during the scene as his brother identified the problem and ran to help him.

This is important. Millions of Americans struggle with anxiety and there are so many myths about the disorder. For Randall’s anxiety to be portrayed with real symptoms, real emotions, and real consequences is powerful for those whose disease is invalidated and labeled fake.

"Crazy Ex-Girlfriend"

This CW show always brings the laughs. Watching co-creator and star Rachel Bloom’s Rebecca get into an array of shenanigans while somehow bursting into song is a treat, but sometimes it can enter into pretty emotional territory.

Throughout the series, Rebecca struggles with her anxiety and depression. She’s constantly in her head and as much as it can be amusing to see some of her more over-the-top moments, it can also be really relatable for those who suffer from those mental illnesses in real life.

For Bloom this is not only intentional, it’s also close to home.

"Rebecca is ­depressed, and as my co-­creator, Aline Brosh McKenna, and I were writing that episode, the anxiety and depression that had invaded my own brain like an alien when I was a kid came back in full force," Bloom told "Glamour."

Bloom’s candid admission is why it’s critical to have a large spectrum of writers and showrunners at the helm of TV shows. How can someone without a mental illness write about a character who suffers from mental illness while remaining realistic? This is evidence of how important it is to have people who live with mental illnesses in the writer's room when these episodes are created, or better yet, have them at the helm.  

"Grey’s Anatomy"

"Grey’s Anatomy" doesn’t exactly have a taste for subtlety. In a show about extremely sexy doctors and constant disasters in the world’s most dramatically unlucky hospital, there is some shred of truth.

Schizophrenia is a mental illness that’s often portrayed in ways that only serve to strengthen the stigma surrounding it. People with schizophrenia are usually shown as stereotypically “crazy” people, floating between constantly changing personalities and living in awful circumstances. This isn’t the case for so many people with schizophrenia.

"Grey’s" took on schizophrenia in an episode about a homeless teen and in the end, it actually got it right.

Instead of relying on tropes, the show played on what is real about the illness, its treatment, and the misconceptions surrounding it. The patient’s parents lacked awareness about her illness and were unsure about the legitimacy of her symptoms which proved how misinformation can only lead to breakdowns of communication and emotional pain for everyone involved. In the end, her parents’ support and their desire to learn were the reasons for the family’s reunion.

"Grey’s" also shows its main characters’ own ongoing battles with things like addiction and depression and it does it in a way that feels less romanticized or glossy than so many other shows.

• Director Bryan Singer has been fired from the Queen biopic, "Bohemian Rhapsody."
• This follows Singer being absent from set on numerous occasions, according to The Hollywood Reporter.
• The movie's star, Rami Malek, reportedly clashed with Singer over being unprofessional.

20th Century Fox has fired director Bryan Singer from its Queen biopic, "Bohemian Rhapsody," the studio confirmed to Business Insider.

The movie was in chaos, according to The Hollywood Reporter, due to Singer's clashes with the movie's star, Rami Malek, and his absences from set. Singer's absence led to production in London shutting down on December 1. In a separate story, THR wrote that Singer was absent because he had to tend to a parent who is "gravely ill."

Singer said in a statement to THR:

“I wanted nothing more than to be able to finish this project and help honor the legacy of Freddie Mercury and Queen, but Fox would not permit me to do so because I needed to temporarily put my health, and the health of my loved ones, first.”

In the film, Malek plays Queen frontman, Freddie Mercury. The movie has two more weeks of principal photography remaining. A new director will be named within the next few days, according to THR.

THR reported that Singer was absent during production on several occasions. In some instances, the movie's cinematographer, Thomas Newton Sigel, had to take the directing reins in Singer's absence. Before Thanksgiving, Malek confronted Singer about being unprofessional, however it did not get physical and according to the trade, the two settled their differences.

However, Singer did not return to set after the Thanksgiving break.

"Bryan Singer is no longer the director of 'Bohemian Rhapsody,'” a 20th Century Fox spokesperson told Business Insider Monday.

Singer is known best for directing movies like "The Usual Suspects" and numerous "X-Men" movies.

Join the conversation about this story »

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• Rupert Grint says he "can't enjoy 'Harry Potter' anymore."
• "I think being in things ruins them for me," he told Radio Times.
• The actor, who played Ron Weasley in the movies, says he's managing his fame well and now mostly acts in and watches television.

Rupert Grint, who played Ron Weasley in the "Harry Potter" movies, says the series no longer brings him happiness.

"I think being in things ruins them for me,"Grint told Radio Times. "I can’t enjoy 'Harry Potter' any more, not as a fan – it’s just not the same!"

Grint said that fame has also taken a toll on him — but it's manageable. While his former co-star Emma Watson refuses to take photos with fans on the street, Grint says he's OK with taking a photo with people, as long as fans ask for permission first.

"I end up having to take a selfie [for a fan] most days, but I’ve never really minded if it makes people happy," Grint said. "Though I hate it when people take pictures without asking."

Grint is currently starring in a show called "Sick Note" on the British broadcaster Sky One. He also said he spends a lot of time at home on the couch, watching TV shows like "The Great Pottery Throw Down,""The Great British Bake Off," and "RuPaul’s Drag Race."

"It’s an art form I think a lot of people should know about and appreciate, because it’s really impressive,"Grint told The Guardian in October. "I like it when they have to make their own outfits, and I love [drag queen] Sharon Needles, she’s my favorite."

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• Actor Gabriel Byrne told The Sunday Times that production on "The Usual Suspects" was halted for two days after Kevin Spacey was accused of "inappropriate sexual behavior."
• Spacey has been accused of sexual harassment or assault by numerous men.
• Byrne compared Spacey to Harvey Weinstein in the interview, saying they shared "that element of absolute abuse of power."

Production on the film "The Usual Suspects" was shut down for two days in 1995 after Kevin Spacey was accused of "inappropriate sexual behavior," according to actor Gabriel Byrne, who starred with Spacey in the Oscar-winning film.

"I did not know honestly then the extent of his violence," Byrne recently told The Sunday Times. "I mean, he was kind of a joke in that people would say, 'That's Kevin,' but nobody really understood the depth of his predation."

"It was only years later that we began to understand that [filming] was closed down for a particular reason and that was because of inappropriate sexual behavior by Spacey," he continued.

Spacey would go on to win a best supporting actor Oscar for his role as Keyser Söze in the film.

Numerous men have accused Spacey of sexual harassment or assault since late October, after the actor Anthony Rapp accused Spacey of making a sexual advance toward him when he was 14. 

Byrne, 67, went on to compare Spacey to Harvey Weinstein in the Sunday Times interview, saying that the two disgraced Hollywood men shared "that element of absolute abuse of power."

Spacey was fired from the Netflix series "House of Cards" and dropped by his agency and publicist in November, following the wave of allegations made against him.

Representatives for Spacey were not immediately available for comment.

SEE ALSO: All the men who have accused Kevin Spacey of sexual misconduct

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• I wanted to really like "The Post," but there were a lot of dull moments that drag on the movie.
• However, Meryl Streep's character evolution through the story is a highlight.

When you think about Steven Spielberg movies, you think excitement, thrills, powerful performances — all done over a wonderful score (often by John Williams).

Sadly, many of the elements that make a Spielberg movie so memorable are missing from “The Post.”

The story focuses on the Pentagon Papers— documents that military analyst Daniel Ellsberg leaked that looked at US involvement in Vietnam spanning four presidents — and how the press, and The Washington Post in particular, brought the information to the American public.

To tell it, Spielberg takes us inside the newsroom of The Washington Post in 1971. The paper, run by editor Ben Bradlee (played by Tom Hanks), is constantly playing catch-up to The New York Times, and that includes with the Pentagon Papers, which The Times breaks first.

But after the Nixon administration obtains a federal court injunction against The Times to force it to stop publishing stories, Bradlee and his editors believe they have an opportunity to get on the story. Reporter Ben Bagdikian (Bob Odenkirk) tracks down Ellsberg (Matthew Rhys) who gives him a portion of the papers, and the race is on to report the findings before the government attempts to stop them from publishing, too.

Meanwhile, behind the scenes, the paper’s publisher Katharine Graham (Meryl Streep) is faced with trying to keep the paper afloat through it all.

This is further complicated by the fact that Graham is close friends with secretary of defense Robert McNamara, who is the one who commissioned the Pentagon Papers as, he said, a record for future administrations to study.

If there’s one thing “The Post” (opening in limited release on December 22 and then wide next year) does well it’s capturing the struggle that comes when personal relationships and hard journalism. At the time, The Washington Post was known for its favorable coverage of President Kennedy, with whom Bradlee was close. “The Post” screenwriters Liz Hannah and Josh Singer capture the struggle both Bradlee and Graham had playing the Washington politics game while being fair and honest.

But there’s a lot the movie can’t pull off. The flow of the story has a lot of false starts, the John Williams score isn’t as powerful as his other legendary pieces for the director, and there are a couple of moments that are probably the lamest I’ve ever seen in a Spielberg movie.

The Spielberg movies that made him famous have popcorn elements like a crazed shark, aliens, or dinosaurs, though a major theme is still often people coping with everyday life. But in recent years he’s veered more into straight-up dramas. The results have been mixed: “The Terminal,” bad; “Lincoln,” good. “The Post” is one of those “very different” Spielberg movies.

At times feeling like a stage play, “The Post” is fueled by the performances of its incredible cast — including Tracy Letts, Carrie Coon, Bradley Whitford, Bruce Greenwood, Alison Brie, and David Cross — but often the scenes drag on too long.

There are numerous scenes when Bradlee barges into Graham’s house and the two go into deep conversation. We get quality Hanks-Streep screen time, but it puts the brakes on everything.

Then there are the scenes when plot points are achingly hand-fed to us, like a scene in which Ellsberg is making copies of the volumes of files that make up the Pentagon Papers (which also drags on a few beats too long). There’s a point when we hear him, in voice-over, reading the names of the four presidents on the cover sheets he’s copying, though we can clearly see the names on screen. This is followed by archival footage of those presidents. These are all great ideas, but don't work when put together.

Then there’s a scene toward the end of the movie when the camera gets in tight on Carrie Coon’s character after she hushes the newsroom and repeats a Supreme Court judge’s summary on their ruling. It’s not just the biggest eye-roll of this movie, but I can’t remember a bigger one in any other Spielberg movie.

But Spielberg finds gold in scenes when Streep’s Graham character becomes firmer in her role as publisher — like when she stands her ground while breaking the news to McNamara that she’s going to run the papers. There's even a bit of a Miranda Priestly from “The Devil Wears Prada” swagger to her when informing the board that The Post is running the papers.

The movie is strongest when nothing is said at all, and DP Janusz Kaminski's work shines. One such scene shows Graham walking up stairs that are surrounded by female secretaries, and we follow her as she goes through opened doors to a room filled with men.

I’m extremely conflicted with “The Post.” There are some very powerful moments. And the movie is timely with what’s going on in the country today (a rarity for narrative studio movies). But the latter might have led to its downfall. The speed to get the movie out the door may have prompted choices that, with more time, would have been thought out better.

“The Post” isn’t a waste of your time, but I was hoping for more — at the very least a little more of that something extra that makes Spielberg movies stand out.

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• Warner Bros. has passed the $5 billion mark at the worldwide box office in 2017.
• This is only the second time the studio has ever hit that milestone.

Despite a year in which Warner Bros. has had to navigate through the Brett Ratner sexual misconduct allegations, and the poor reviews and box office for "Justice League," the studio has some good news to celebrate.

Warner Bros. announced on Tuesday evening that it had surpassed the $5 billion mark at the worldwide box office in 2017.

That is only the second time in its history that the studio has crossed this major milestone. This puts Warner Bros. in second place only to Disney this year, which recently announced it had also crossed the $5 billion mark for the third year in a row.

2017 also marked a Warner Bros. record as five of its releases took in more than $500 million worldwide — "Wonder Woman,""Dunkirk,""Kong: Skull Island,""It," and "Justice League."

There may be more good fortune coming to Warner Bros. as award season heats up. "Wonder Woman" and "Dunkirk" are both strong contenders in both the below-the-line and major categories like best picture and best director.

SEE ALSO: Even a stellar performance by Meryl Streep can't elevate Steven Spielberg's "The Post" past its flaws

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It's time to look back on 2017 and see what happened at the multiplex. And for some titles it wasn't pretty.

Though 2017 found some success stories — like the early-year releases "Get Out" and "Split" from Blumhouse, the fall favorite "It," and presumably "Star Wars: The Last Jedi" when it comes out in mid-December — numerous titles were dead on arrival.

For every "Beauty and the Beast" and "Wonder Woman" in 2017, there was a dud like "CHiPs" and "mother!" that quickly followed.

Here are the 10 worst box-office earners of the year (compare them to our list from the halfway point).

Note: This selection is limited to only those titles released by the six major studios that have played in more than 2,000 screens for at least two weekends. Grosses below are all US earnings from Box Office Mojo.

SEE ALSO: RANKED: The 11 best movies of the year so far

10. "The House"— $25.5 million

Reported budget: $40 million 

(Note: Production budgets are estimates and do not include expenses for marketing and release.)

9. "Diary of a Wimpy Kid: The Long Haul"— $20.7 million

Reported budget: $22 million

8. "CHiPs"— $18.6 million

Reported budget: $25 million

• Disney is close to buying a bunch of assets from 21st Century Fox, according to CNBC.
• Such a deal could mean Disney ends up owning 30%-40% of the domestic box office, and 60% of Hulu.
• The potential deal could likely face scrutiny from the DOJ.

On Tuesday, CNBC reported that Disney was close to a deal to buy large chunks of 21st Century Fox. Such a deal could lead to quite a concentration of power in media.

CNBC reported that Disney could pick up “Fox's Nat Geo, Star, regional sports networks, movie studios and stakes in Sky and Hulu, among other properties.” Disney would leave Fox’s news, broadcast network, and sports intact (except the regional sports networks).

This would be a mammoth deal for media, and could set Disney up for a coming war with Netflix (as my colleague Mike Shields and I looked at yesterday). The competition with tech is key, as it's likely the argument Disney would make to the DOJ. Disney would probably say that the DOJ should allow the deal to go through because Disney needs the new assets to stand against the vanguard of Silicon Valley giants invading Hollywood, from Netflix to Amazon to Facebook to Apple. It’s the same basic argument AT&T has made in favor of its proposed purchase of Time Warner, which owns properties like Turner, Warner Bros., and HBO.

That argument hasn’t exactly been a slam dunk so far for AT&T, though the extent to which President Trump’s animosity toward CNN has affected that particular deal isn’t entirely clear.

Still, the threat from Silicon Valley to many media incumbents is undeniable, and should be a factor when deciding the antitrust implications of combinations like Disney-Fox. On the other side will be an evaluation of how much power such a deal would consolidate in the hands of Disney. And according to the CNBC report, it would be quite a lot.

There were two examples I found particularly meaningful: Hulu, and the box office. According to CNBC, Disney is interested in both 21st Century Fox’s movie studio and its stake in Hulu.

Here’s what that would mean:

• Disney would own 30%-40% of the domestic box office. This year so far, Disney makes up about 18% of the US box office — and the new ‘Star Wars’ movie hasn’t even come out yet. Add that to Fox’s 12% and you get around 30%. But looking at last year, Disney's power would be even more pronounced. Disney made up just over 26% of the domestic box office and Fox around 13%, combining for close to 40%. Such a large market share would make Disney an even bigger player than it already is in negotiations with the ailing movie theater giants.
• Disney would own 60% of Hulu. Right now, both Disney and Fox own 30% stakes in Hulu, with Comcast (30%) and Time Warner (10%) rounding out the field. Picking up Fox’s stake would allow Disney to control Hulu’s destiny. Hulu has recently gained breakthrough success with original content like “The Handmaid’s Tale,” and launched its own live TV competitor to cable. There are many ways Disney could go with Hulu, but controlling the service would certainly give it a leg up in the valuable streaming video arena.

These are just two examples, and they don't even touch on sports (ESPN, and so on), but they illustrate the kind of advantage this deal would afford Disney. The main question for regulators will be whether such a concentration of power is needed to allow Disney to compete against foes and frenemies in industries spanning from tech to telecom (AT&T, Verizon), or whether it’s a step too far in curbing competition.

SEE ALSO: The 10 biggest box-office bombs of 2017

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• Harvey Weinstein's years of alleged sexual harassment and assault were enabled by a "complicity machine" that included tabloid journalists and assistants, according to a New York Times report. 
• Weinstein reportedly made his "low-level assistants" help facilitate his alleged encounters with women and procure "penile injections" for his erectile dysfunction.
• One of Weinstein's former assistants, who told the Times she was forced to provide him with erectile dysfunction drugs, also told Variety that she is planning to sue Weinstein for sexual harassment. 

Harvey Weinstein had an extensive network of enablers who helped him cover up years of alleged sexual harassment and assault, according to a New York Times report published Tuesday.

Weinstein reportedly sought the help of agents and tabloid journalists in an effort to undermine his accusers. He also reportedly forced some of his "low-level assistants" to help facilitate his alleged encounters with women, and even made them procure "penile injections" for his erectile dysfunction.

Two of Weinstein's former assistants, Sandeep Rehal and Michelle Franklin, told the Times that they were forced to provide Weinstein with the injectable erectile dysfunction drugs Caverject and alprostadil, and that they helped arrange his repeated encounters with women.

Franklin told the Times that Weinstein fired her in 2012 after she told the movie mogul, "It's not my job, and I don’t want to do it," in response to arranging his encounter with a woman who later appeared "emotionally bruised."

Rehal told the Times that Weinstein paid for his erectile dysfunction drugs and other items for his encounters with his company credit card, and she said that Weinstein paid her a $500 bonus for supplying the drugs.

Rehal's attorney also told Variety on Wednesday that she plans to sue Weinstein for sexual harassment. Rehal worked for Weinstein for two years, before quitting in February 2015 due to an "intolerable work environment," her attorney told Variety.

In a statement responding to the Times story, Weinstein's attorneys, Blair Berk and Ben Brafman, said Weinstein did not bill personal expenses to the company.

"At no time during his tenure at either Miramax or TWC did Mr. Weinstein ever utilize company resources for personal expenditures, and in the few instances where there was any confusion, Mr. Weinstein immediately reimbursed the company out of his own pocket," the attorneys said in their full statement, as Variety reported.

Weinstein's lawyers declined to comment further when contacted by Business Insider.

Weinstein was fired from The Weinstein Company board on October 8, following bombshell reports from The New York Times and The New Yorker that detailed decades-spanning allegations of sexual harassment and assault against him.

The 8,000-word New York Times report published Tuesday details the full extent of Weinstein's history of efforts to cover up his alleged misconduct, and it's worth a read.

SEE ALSO: Lena Dunham and Tina Brown say they warned the Clinton campaign about working with Harvey Weinstein

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• Ben Mendelsohn plays King Henry VI in "Darkest Hour," one of the rare times he hasn't played a bad guy in a movie.
• Don't worry though, he's got some major bad guy roles coming, like Sheriff of Nottingham in "Robin Hood" and the villain in "Ready Player One."
• But he's quiet about a possible return of his "Rogue One" character Director Krennic in any future "Star Wars" movies. 

After years of being a struggling actor in Australia, Ben Mendelsohn got his breakout in 2010 as the patriarch of a crime family on the run in “Animal Kingdom,” and hasn’t looked back since.

Finding his mark playing complex dark characters in indies like “The Place Beyond the Pines” and “Slow West,” Mendelsohn hit it big when he scored the role of Director Orson Krennic in “Rogue One: A Star Wars Story” last year. But in his latest role Mendelsohn proves he can do more than just play the bad guy. As King George VI opposite Gary Oldman as Winston Churchill in “Darkest Hour” (in select theaters now, nationwide December 22), Mendelsohn shows off his softer side as he plays a man tasked with keeping the United Kingdom strong during World War II while trying to match wits with Churchill, though suffering a stammer when he speaks. (He plays the same character who earned Colin Firth a best actor Oscar for “The King’s Speech.”)

Mendelsohn talked to Business Insider about preparing for the challenging task as well as his upcoming anticipated roles, which range from the Sheriff of Nottingham in “Robin Hood” to a gaming nerd in “Ready Player One” — yes, he’s a bad guy in both.

Jason Guerrasio: When you had to wrap your head around that you're going to play King Henry VI, was it exciting or scary?

Ben Mendelsohn: It was both. It was very unexpected. I got why [director] Joe [Wright] thought of me in one respect. If you look at me in profile and look at him it's not a bad match. There are certain, well, I guess, shyness to me and the portrayal of him. But other than that it's a pretty big risk. 

Guerrasio: And when you say risk, you mean the weight of the role?

Mendelsohn: Yeah. It's a risk from Joe's perspective. I think there's plenty of people he could have cast that were more, um —

Guerrasio: English. 

Mendelsohn: Yeah. Exactly. Wouldn't have to worry about the accent stuff. But I'm very thankful that he did ask me to do it. And then it's the company you're in. Gary Oldman playing Winston Churchill, that is a film I would go see. 

Guerrasio: What was the research like? Did you want to go really deep in knowing everything about King Henry?

Mendelsohn: No. I was mostly interested in what I could see and hear. I was less interested in the various interpretations of the man. I knew the rough outlines of his situation. It was really to get a sense of where the stutter was and what feeling you get from him. 

Guerrasio: So basically watching "The King's Speech" would have screwed you up.

Mendelsohn: By the time the Jello had nearly set I went back and watched "The King's Speech." I hadn't planned on it and then I just thought, you know what — um, I'm trying to find a way to say this that you won't have to edit me —

Guerrasio: Screw it!

Mendelsohn: Yeah. Thank you. [Laughs.] And I'm glad I did because it is a beautiful portrayal.

Guerrasio: Was it less looking at how Colin did the voice and more how he moved as the King? His swagger?

Mendelsohn: It was less of that. No. I wasn't looking at Colin's performance as to how he interpreted the guy. I wasn't interested to try to take up or ignore, it was more getting the whole sense of the story. The stuff that affected me more was the business with his dad and brother. That's what I took on board a bit more. 

Guerrasio: It sounded like you got in early with Gary, all the actors were given a good chunk of rehearsal time before shooting started. 

Mendelsohn: They had a long rehearsal period which I was there for a few days of. And thank God we did. Look, it was a task and it helps a lot to get comfortable with the people you're going to be doing it with. Gary and I had met before, we worked on "The Dark Knight Rises."

Guerrasio: That's right!

Mendelsohn: We don't do anything together, but we are in one scene where Commissioner Gordon gets up and makes a little speech in the back of Wayne Manor. So we were together over a couple of night shoots together. 

Guerrasio: While shooting "Darkest Hour," between shooting are you and Gary talking in your character voices? Are you scared you'll lose the stutter?

Mendelsohn: Well, once you know where it is you can pick it up and put it down. You don't need to do all that stuff.

Guerrasio: The connection between you and Gary is you both play bad guys so well. For you, is it hard to find a role like this? Something that just on paper doesn't scream, "evil!"

Mendelsohn: I consider it a real compliment to be offered the bad guy. No complaints on that. But it was a delight to be offered this role in part because he's a good guy. 

Guerrasio: Is it more fun to play the dark roles?

Mendelsohn: No. Well, it depends. I think it's more fun to work than not to work. 

Guerrasio: [Laughs.]

Mendelsohn: There's a certain malevolent delight that baddies get to express. But that's pretty short lived. 

Guerrasio: Coming up you play the Sheriff of Nottingham in the latest “Robin Hood” movie. Will you give him a more playful feel? Like Alan Rickman did in “Robin Hood: Prince of Thieves?"

Mendelsohn: Ah, no one is ever going to top Alan Rickman. 

Guerrasio: He was damn good in that role. 

Mendelsohn:No one is ever going to top that, and I'm not trying. But this is an origin story of Hood, it's a very explosive kind of piece. But no, the sheriff is not a good guy at all. But Nolan Sorrento in “Ready Player One” is a fantastic bad guy. He’s a nerd that's got too much power. I guess most bad guys you look at what they do with their flaws. How they've compensated for them in some way and how they try to make everyone else pay for it. That seems to be one of the thematic things about most bad guys. 

Guerrasio: I think that's why people gravitate to those kind of roles, they plug their darkness and insecurities into what they see that character doing. 

Mendelsohn: Yeah. And that kind of misbehaving, as it were, comes vicariously. 

Guerrasio: With “Ready Player One,” was that just another "pinch me" moment in your career?

Mendelsohn: Oh yeah. I remember meeting Spielberg for the first time and I said, "I don't know what your intention is but this is good enough for me, I got to sit in a room with you." He had seen "Bloodline," he was a big "Bloodline" fan.

Guerrasio: Are you bummed there's no more "Bloodline?” Did you feel there was more story to be told?

Mendelsohn: I think from my point of view [my character] Danny Rayburn was always in the early part of that telling. I think that those guys had a lot more in them. But that's the way it is. Few things have been as good to me as "Bloodline." 

Guerrasio: With the news that Rian Johnson is going to expand "Star Wars" and is tasked with making more movies — not to mention all the one-off movies — is it possible Director Krennic comes back?

Mendelsohn: I don't know. I really don't know what's happening with any of that. 

Guerrasio: Was it a one-and-done contract for you, or did you have an option for multiple films?

Mendelsohn: It would be remiss for me to discuss contractual details. 

Guerrasio: Well, I had to try.

Mendelsohn: [Laughs.]

Guerrasio: And I guess this is another one you can't really say, but are the rumors true that you'll be in Captain Marvel?

Mendelsohn: That’s another I wish we could talk about, but I can neither confirm or deny the existence of such a project, if there were such a project. [Laughs.]

Guerrasio: Honestly, these kind of questions, are these fun for you? Because you've had to navigate through them a lot for a year-plus now.

Mendelsohn: Look, honestly, I'm a guy who sat around being out of work for a very long time so this is not a problem. [Laughs.] This is a very, very lucky position to be in.  

SEE ALSO: The 10 biggest box office bombs of 2017

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• Ryan Reynolds trolled his mom on his Instagram post.
• He shared a photo of the two of them from earlier this year and added in some fake face tattoos. 
• Some of the designs were "tattoos" he was offering at the Brazil Comic Con. 

No one is exempt from a Ryan Reynolds troll, not even his mother.

The 41-year-old actor shared a photo of his mom, Tammy, and himself at the Time 100 Gala from April 2017 on his Instagram. But instead of posting the original photo, the "Deadpool" star hilariously added in some fake tattoos, including a spider web on her neck, a Deadpool heart on one cheek, and the Brazilian flag with Deadpool in the center on the other cheek. 

"My Mom had the best time in the #Deadpool tattoo booth at Brazil Comic Con," he captioned the photo. 

On Tuesday, the actor shared a video on Twitter saying he was sending "moderately-trained" tattoo artists with four tattoo designs inspired by his mercenary character. 

The tweet read: "My mom barely has any room left on her face for another tattoo. But she’s going for it. Because she cares." 

Reynolds often trolls wife Blake Lively on social media, but she does take her chance to get back at him with her own posts. 

"Deadpool 2" will hit theaters June 1, 2018.

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• J.K. Rowling defended her decision to keep Johnny Depp in her "Fantastic Beasts" series.
• "The filmmakers and I are not only comfortable sticking with our original casting, but genuinely happy to have Johnny playing a major character in the movies," she said in a statement.
• Depp's ex-wife Amber Heard accused him of beating her when they were married. Heard dropped her charges during their divorce settlement process.
• Rowling suggested contractual agreements prevented her from speaking more openly about the situation.

J.K. Rowling responded Thursday to fan backlash about Johnny Depp's casting in her "Fantastic Beasts" movie series, saying she's "genuinely happy" to have him aboard despite the domestic abuse allegations against him.

"Based on our understanding of the circumstances, the filmmakers and I are not only comfortable sticking with our original casting, but genuinely happy to have Johnny playing a major character in the movies,"Rowling said in a statement.

Rowling is both writing and producing the "Fantastic Beasts" series, a planned five-part "Harry Potter" spin-off with Warner Bros. Depp plays Gellert Grindelwald, the main villain in the plot, and will be front and center in the next film, "Fantastic Beasts: The Crimes of Grindelwald," due in November 2018.

Depp was accused of assault by his ex-wife, Amber Heard, when they were married. She dropped the charges during their divorce settlement process in 2016. Some fans of Rowling were furious that he remained in the "Fantastic Beasts" series despite the allegations. Rowling even apparently blocked one fan who criticized her on Twitter.

It's part of a growing chorus of voices trying to draw attention to workplace sexual harassment amid the downfall of powerful media figures like Harvey Weinstein and Charlie Rose.

Rowling said stories about Depp "deeply concerned" her and the rest of the filmmakers around the time his scenes were filmed for "Fantastic Beasts and Where to Find Them," the first movie in the series, which was released in 2016. She acknowledged in her statement that fans' concerns about his casting were "legitimate" and said she had considered recasting him.

But in the end, Rowling and the movie's director, David Yates, decided to keep him.

Rowling also suggested that contractual agreements prevented her from speaking more openly about the situation.

"For me personally, the inability to speak openly to fans about this issue has been difficult, frustrating and at times painful," Rowling said. "However, the agreements that have been put in place to protect the privacy of two people, both of whom have expressed a desire to get on with their lives, must be respected."

In a November interview with Entertainment Weekly, Yates was dismissive about Heard's allegations against Depp.

"Honestly there's an issue at the moment where there's a lot of people being accused of things, they're being accused by multiple victims, and it's compelling and frightening," Yates said. "With Johnny, it seems to me there was one person who took a pop at him and claimed something."

Read Rowling's full statement below:

"When Johnny Depp was cast as Grindelwald, I thought he'd be wonderful in the role. However, around the time of filming his cameo in the first movie, stories had appeared in the press that deeply concerned me and everyone most closely involved in the franchise.

"Harry Potter fans had legitimate questions and concerns about our choice to continue with Johnny Depp in the role. As David Yates, long-time Potter director, has already said, we naturally considered the possibility of recasting. I understand why some have been confused and angry about why that didn't happen.

"The huge, mutually supportive community that has grown up around Harry Potter is one of the greatest joys of my life. For me personally, the inability to speak openly to fans about this issue has been difficult, frustrating and at times painful. However, the agreements that have been put in place to protect the privacy of two people, both of whom have expressed a desire to get on with their lives, must be respected. Based on our understanding of the circumstances, the filmmakers and I are not only comfortable sticking with our original casting, but genuinely happy to have Johnny playing a major character in the movies.

"I've loved writing the first two screenplays and I can't wait for fans to see 'The Crimes of Grindelwald.' I accept that there will be those who are not satisfied with our choice of actor in the title role. However, conscience isn't governable by committee. Within the fictional world and outside it, we all have to do what we believe to be the right thing."

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

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SEE ALSO: J.K. Rowling blocked a fan on Twitter after she asked her why Johnny Depp would still be in 'Fantastic Beasts'

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