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A British police officer who crawled the London Marathon in a gorilla costume has raised more than $42,700 for charity after completing the 26.2-mile course.

Tom Harrison of the Metropolitan Police Department crossed the finish line on Saturday, six days after the race started.

The 41-year-old, who went by the name Mr. Gorilla, donned the outrageous suit to raise money for the Gorilla Organization, which aims to protect the endangered species, according to his online fundraiser.

“It was tough at points, but I am really glad I did it,” he told The Guardian after completing his extraordinary goal.

Harrison covered himself from head to toe with a furry black costume, which included a face mask, gloves and toed shoes. He averaged about 4.5 miles a day, breaking to stay at friends’ houses along the way, The Guardian reported.

At the finish line, he was met by Gorilla Organization Chairman Ian Redmond and conservationist Bill Oddie, as well as his two young sons who wore similar gorilla suits.

He said he was blown away by the money raised, which was about 20 times his goal of about $1,900.

“The fact it went global has been completely unexpected, but brilliant,” he told the BBC.

But his work isn’t over.

On Harrison’s fundraising page he shared that he plans to cycle 100 miles in Ride London this July. Yes, also in his gorilla suit.

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Earlier this month, Reddit pulled off one of its greatest accomplishments ever: getting users to spend 72 hours painstakingly making art together one pixel at a time. Now, one Redditor has created an atlas that documents the stories of each individual art project that contributed to this glorious mess.

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Microsoft continues to expand the list of titles that are backward compatible on the Xbox One. In case you’re unaware, backward compatible titles are those that were originally released for the Xbox 360 and have been updated with support for the Xbox One. Two new titles that have joined this expanding list include Dead Space 2 and Dead Space 3.

Dead Space 2 and Dead Space 3 were released for the Xbox 360 in 2011 and 2013 respectively. Fans of this franchise will be happy that these titles are finally backward compatible so they can now play them on the Xbox One as well.

Those who don’t own the discs of these games can purchase them now through the Xbox Store for the Xbox One. They’re priced at $19.99 each. The discs themselves are a bit cheaper to purchase and will be even more so if they’re picked up secondhand.

Those who enjoy playing hunting games will also appreciate the fact that four hunting titles have been added to the list as well. These include Cabela’s Dangerous Hunts 2013, Cabela’s Hunting Expeditions, Cabela’s Survival: Shadows of Katmai and Cabela’s Alaskan Adventures.

The original Dead Space title has been available through the Games On Demand service since March last year. Dead Space 2 and Dead Space 3 are now available through the service as well.

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You haven’t seen devotion until you’ve been in a room with nearly 6,000 “Godfather” disciples. The manic fandom typically reserved for Comic-Con and “Star Wars” assemblies was front and center when Francis Ford Coppola and the cast reunited Saturday at the Tribeca Film Festival’s closing night. 

Capping off a nine-hour event that included screenings of “The Godfather” and “The Godfather Part II,” a 45th-anniversary panel discussion found Al Pacino, Diane Keaton, Robert De Niro, James Caan, Talia Shire and Rubert Duvall recounting the messy process of making a movie they never expected to become such a defining Hollywood signature.

The sold-out crowd at Radio City Music Hall had been boisterous throughout both films, cheering at iconic dialogue and almost every gruesome death or Corleone victory. Just imagine how enthusiastic they were by the time this A-list group took the stage. 

“The Godfather” is one of the most chronicled movies in history, as proven by the nearly 800-page annotated book Coppola published last year. Much of Saturday’s panel retread well-told stories: Paramount’s resistance to casting the crotchety Marlon Brando, the studio threatening to fire Coppola out of fear that his directorial choices would jeopardize the success, the fateful single take in which Coppola added a cat to the opening scene. 

Frenzy erupted when moderator Taylor Hackford asked the audience to shout out questions. One fan posed something that further explained the film’s fervent following: Could “The Godfather” be made today?

The answer, according to Coppola, is no.

Well, it could be made, he said, but it would be an offer major studios would have to refuse.

The first “Godfather” cost $6.5 million, Coppola explained. That’s the equivalent of about $38 million today, which would make it a mid-budget project in a market that’s overrun by tentpole titles costing well over $100 million apiece, he said. The “Godfather Part II” budget swelled to “$11 or $12 million,” or about $64 to $70 million nowadays. 

“It would never get through the process of getting an OK, or what they now call a green-light,” Coppola said. Contemporary Hollywood studios, he pointed out, are mostly interested in movies with built-in franchise potential ― “pretty much a Marvel comic,” a comment that provoked chuckles from the audience. 

“Basically there’s not enough wires,” Caan joked, referring to the suspension technique used to film superheroes and Hogwarts wizards in flight. 

Coppola and Caan’s assessment is painfully accurate: Original movies are no longer Hollywood’s breadwinners. The mid-budget adult release ― ranging from about $10 million to $70 million ― has become something of a relic over the past 15 years, replaced instead by comic-book adaptations, reboots and pre-determined cash cows. 

Even though it’s based on the popular novel by Mario Puzo, were Coppola to pitch “The Godfather” today, he would have a tough time securing the funds and support needed. The first installment made $245 million worldwide, which today amounts to $1.4 billion. For a film without animation or dazzling technical effects, that seems impossible in 2017.

Coppola said former MGM owner Kirk Kerkorian once asked how one makes a movie that is both financially and artistically successful. “I said to him, ‘Risk,’” he said. “Nobody wants the risk when you get into business.”

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