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The Costume Designer For 'Pretty In Pink' Finally Explains That Prom Dress

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You know there's going to be a lot of attention paid to style with a title like "Pretty in Pink." 


And while John Hughes and Howard Deutch's 1986 film wasn't just about fashion, the iconic moments from the storyline were helped along by each character's look. If the love story of teenage outsider Andie and rich-kid Blane was what pulled viewers in, each character's personal style is part of what made the movie go from a nice flick to a cinematic time capsule, from good to great.


"Great," of course, isn't a word many would apply to Andie's lace and polka-dot creation -- constructed from her friend Iona's frock and a dress given to her by her father -- that she debuts just before heading to the pinnacle of all silver screen high schooler's lives: the prom. If you've forgotten it, let's refresh your memory.





"Oh, boy," costume designer Marilyn Vance said over the phone once I mentioned the interesting end result. "Molly [Ringwald, who played Andie] hated that dress. She wanted to be like the other girls, you know, in a strapless dress with kind of a full skirt."


The character of Andie, however, wouldn't have been able to afford a dress like most of the other girls at school -- nor would one truly suit her persona.


Vance explained how she could have followed the era's trends, like big shoulders, but chose not to. "I just went in the other direction," she explained. "I didn't want to date anything." Thirty years later, it's not hard to imagine the visuals of "Pretty in Pink" fitting in a Brooklyn or Portland neighborhood, or in the nostalgic-cool feeling of current films like "Dope." It's the timeless visuals that make re-watching it feel like a classic black dress instead of a woefully unwearable homecoming affair.  



"I won't say that I was in love with it," said Vance, noting that the design was specifically for Andie, and wasn't meant to be a run-of-the-mill gown. "But that's not the character. The character was so original. She had a mind of her own, she marched to a different drummer."


"I said, 'This is Molly! I can't just give her a prom dress.'" she continued. "So, anyway, John [Hughes] came in and said, 'It's the character. That's it.' There she was." 


Deutch, the film's director, recalls the unveiling of the dress. "I think the studio didn't like it when they saw it," he told The Huffington Post's Lauren Moraski. However, he had worked with Vance on previous projects and "trusted her always." As he explained, "It wasn't supposed to be a designer couture thing. It was supposed to be something she put together herself."





To create the look, Vance mixed and matched a few dresses before settling on the final dress. The high neck was inspired by Andie's black top of a similar style -- one she's wearing, and touches thoughtfully, while sketching the final outcome. "I tried to put the story together: How did she come up with that gown?" Vance explained.


Something more universally adored was Andie's best friend Duckie's (Jon Cryer) general style, complete with blazers, vests, bolo ties and hats. "I was very involved in the music business as well, and very much into the British music," said Vance, noting that sometimes Hughes would play the crew original music in order to set a scene. 


Duckie's look, essentially, is that of a "Teddy boy." "His character is the whole fashion," Vance explained, "It's very kind of rock 'n' roll." Rolling up Duckie's sleeves and adding an Army patch to his jacket were two subtle ways Vance helped "make it his own."


 



Both Andie and Duckie were teens from the lower-class side of the tracks, which meant they had to express themselves using what little resources they had. "They really didn't have a lot of money, but they had a lot of style," Vance said. "They had feelings and used them. They had feelings, and were sensitive. As opposed to the other folk."


The other folk, naturally were Blane & co., representative of the aspirational J. Crew vibes of the wealthier late '80s set. "I dressed all the other kids in kind of beige and light blue," Vance said. "Khakis, whites. I tried to do that, not to make it obvious but to kind of ... to really register in your head what you're seeing, without going 'Oh, they're the rich ones!' You gotta be subtle." Andie and Duckie didn't just stand out socially: at a glance, their loud prints and unconventional styling literally set them apart from the crowd.


Her favorite scene -- "I got to say, that's one of my favorite things ever" -- is Duckie's dance in the record store where Andie and Iona work. "Jon Cryer is so not that character -- he pulled it off," Vance said. "The most incredible thing that I've ever pulled off, in my life, is getting him in that wardrobe."


Hughes' involvement in the film served as a muse of sorts for Vance. "John Hughes is such a wonderful storyteller. You know, it just dances in your head, the visuals," she said. "He was one of a kind as a person. Like a big kid, but at the same time, a grown man." 


It was this storytelling, and Vance's costume design, that helped the film become a classic to return to time and time again. That's why we'll always love "Pretty in Pink," even if it did awaken some viewers to heinous injustices:





"Pretty in Pink" is available now on Digital HD.


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Woody Harrelson Is Looking For Some Natural Born Killers In This 'Triple 9' Clip

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Don't tell Woody Harrelson you don't know. In "Triple 9," at least, it's his breaking point. And understandably so: Harrelson plays a detective struggling to hunt down a gang of criminals. Said crooks are attempting to pull off a massive heist per blackmail from a Russian mob led by a brash Kate Winslet. You'd be panicked too if gangster Kate Winslet were on your trail!


The Huffington Post has an exclusive clip from "Triple 9," directed by John Hillcoat ("The Road," "Lawless"). In it, Harrelson needs his squad to dig up clues, pronto. See his outburst for yourself.


Also starring Casey Affleck, Anthony Mackie, Chiwetel Ejiofor, Aaron Paul, Norman Reedus and Gal Gadot, "Triple 9" opens Friday.






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Whoa, These Book Covers Look Just Like Modern Art

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The best book covers grab eyeballs with their stark minimalism, bold patterns, or intricate detail -- and the same could be said of contemporary visual art, which aims to hook the viewer in emotionally and intellectually regardless of whether the artist uses a realistic or an abstract approach. 


A cover design is a piece of artwork in its own right. But while you've probably seen the cover above -- for Lauren Groff's 2015 hit Fates and Furies -- in airport bookstores, on friends' coffee tables and even in newspapers, few individual works of art get that sort of exposure.


Perhaps that's why it's so thrilling, on a deeply geeky level, to see a popular book's design mirrored in a less ubiquitous piece of visual art. Even seeing that certain high fashion dresses echo recent book covers prompts us to see both the book design and the dress design in a new, more complete light, as works of deeply informed artistic expression that draw on visual trends and theories in conversation with other contemporary art.



German artist Tamara Eda Temucin recently kicked off an Instagram project doing just this, but for art from visual platform Minimal Zine. Each post juxtaposes a book cover -- the choices range from the very well-known to the deeply obscure -- with an artwork that hits similar visual notes. "I was editing a photo I shot in Africa a few years ago and recognized that the section I cut out looked almost the same, like the book cover of Architecture of Happiness by Alain de Botton," Temucin explained in an email to The Huffington Post. 


Some of the pairs look nearly identical, while others show a strong affinity through a shared color palette and similar design components, like bold color blocks and minimalist lines. "When you look at the comparisons you might just think that only the colors are matching," she said, "but you'll recognize afterwards that there is a line or another shape" that echoes the book cover.


Temucin explained, "I fell in love with these crazy coincidences."


Temucin's pairings remind us that book cover designs aren't just casings for the text: They're art. Like the striking minimalist works they're paired with, the covers shine through artful framing, deft use of proportions, and acute color choice. This benefit works both ways, as well, showing book fans that the aesthetics of their favorite volumes aren't limited to literature, but are staples of the art world. 


Check out Temucin's Instagram to see more of her posts:



All images courtesy of Tamara Eda Temucin.


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Rooney Mara, Mark Ruffalo And More Join The List Of Independent Spirit Award Presenters

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The Film Independent Spirit Awards have become a daytime dress rehearsal for the Oscars, occurring the afternoon before Hollywood's biggest night. A-listers -- often the same ones who will collect Academy Awards -- turn up in droves at a beachside Santa Monica tent to honor American films made for less than $20 million.


The Huffington Post can exclusively announce four additional A-listers who will present prizes at Saturday's Indie Spirit Awards: Rooney Mara (a nominee for "Carol"), Mark Ruffalo, Jason Segel (a nominee for "The End of the Tour") and Juno Temple. They join the previously announced roster, which includes Cate Blanchett, Idris Elba, Michael Keaton, Aaron Paul, Jacob Tremblay, Jessica Chastain and Nate Parker. 


The Indie Spirit Awards will air live on IFC at 5 p.m. EST on Saturday. Kate McKinnon and Kumail Nanjiani are this year's hosts. See the full list of nominees here.



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Raw Photo Series Asks People To Take Off Their Clothes And Discuss Self-Love

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Warning: This post contains nudity and may not be suitable for work environments.



Photographer Anastasia Kuba grew up feeling beautiful. She had light eyes, blond hair and big breasts, attributes conventionally defined as such. From a young age, she was showered with attention. But Kuba still struggled intensely with self-esteem. "My self-worth was connected to my looks," the artist explained to The Huffington Post.


Kuba's self-identification as a beautiful woman shaped many of her life choices growing up. "There was nothing else I thought I had to offer. I was young -- I hadn't really established my identity yet, who I was." To support herself in her early 20s, after moving from Russia to the United States, Kuba worked as a topless dancer. It wasn't a defining moment in Kuba's life, but an affirmation of what she already felt -- that her value was affixed to her appearance. 


A lot of contemporary feminist discussion focuses around ideas of empowerment and body positivity, propelling the belief that every woman, or more aptly every human being, is beautiful. Although Kuba doesn't disagree with the sentiment, for her, it misses the mark. "We usually talk about the body positivity movement by saying 'everyone tells us we’re not beautiful enough, but look at us, we are.' I was in a different boat. I was told I was beautiful, but that was kind of it."


Around the age of 25, something in Kuba changed. She shaved her head, stopped wearing makeup, tossed off her high heels -- in her own way, she stopped adhering to the norms of beauty that govern mainstream society. Kuba's photography shifted, as well. Previously Kuba had been focused on boudoir photography, capturing the sexual appeal of bodies. With her new work, Kuba wanted to focus on what it means to exist in a body. No over-arching theme or message. Just truth. 


"Bodies tell stories and we are complicated creatures," Kuba said. "I wanted bodies to tell their complicated stories."



Kuba invited willing participants to pose for her work. She received responses from cis women, trans women, cis men, trans men, genderqueer individuals; all of various ages, sizes and backgrounds. Each of Kuba's sessions takes approximately three hours, in Kuba's mind, enough time for their guard to slip, their nerves to settle and their affectations to wear off. The first hour, Kuba only speaks with her subjects, no cameras. "I’m nervous, they’re nervous," she said.


Kuba recalled being shocked when a conventionally beautiful subject would open up about his or her body issues. "The first thing I would want to do is put a band-aid on it and say 'you're beautiful!' I had to learn to keep my mouth shut and just listen." Instead of trying to comfort her subjects, Kuba eventually learned to validate them in their discomfort. Yes, this is awkward, and that's the point. 


Through her conversations, Kuba learned that although body positivity is important, it's not the only answer. Beauty is often more complex than physical attributes or empowered self-love. "What the body looks like has nothing to do with what the person feels like in the body," Kuba explained. "Our self-loathing is usually a consequence of trauma, not having control over the body at some point. You can look however you look and feel however you feel and those things are not linked. Someone can look at you and say ‘you’re so beautiful’ but it doesn’t matter. It’s about how safe you feel inside yourself."



After the initial conversation, Kuba's subject undresses, fully and completely. No makeup, no jewelry, no props. All images are captured in natural light. Basically, there is nowhere to hide. Consent is a crucial aspect of Kuba's mission, and she allows her subjects to end the process at any time. She also looks through the photos along with them, deleting any image the subjects aren't comfortable with. To completely relinquish any sense of authority, Kuba allows her subjects to photograph her naked in return, if they so choose.


"I want to capture [them] as they are in the moment, not presenting themselves in a certain way," Kuba added. "When a person starts performing, I call them out on it. I don’t want to focus on empowerment, I just want to photograph what’s in front of me. As raw as possible."


Kuba eventually noticed an unusual outcome of her images -- many of her subjects, in their unclothed state, resembled children. It's not quite what you'd expect from a nude photo, nor something Kuba was expecting, but there it was. "They look so innocent," she explained. "That’s when I realized the project was about the innocence of the body. After you take off all the makeup and all the clothes -- your presentation to the world -- you take all the social cues off and there’s just you."


Each of Kuba's subjects creates a personal essay which is published alongside their images on her website -- snippets of which are included as captions here -- putting into words some of the stories that shaped their bodies into what they are today.


"By the end of doing the shoot, I developed a much more kind relationship with my body and it’s presence," one subject, Neil, wrote following the shoot. "I felt more able to look in the mirror and not just see something merely sexual, inherently female, and private. Which were things that I’ve been associating with my body since puberty." More recently, her sitters also began reading poems, sans clothing. It started by chance, but Kuba hopes the ritual becomes a consistent element in her photography process.


See Isobel O'Hare read her poem "Dotted Line" below and see more Naked Poems here. 






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30 Inspirational Quotes From Your Favorite Fictional Characters

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Not all wisdom comes from ancient prophets and philosophers. Just as inspiring can be a headmaster of wizard school, a lion who is a great father and even a talking willow tree. Really.


You're sure to be lifted up by the incredibly touching words of some of our favorite fictional characters. Have a look at the infographic below from Playground Equipment and be sure to share this sage advice:


[Editor's note: Mister Rogers is totally real in our books.]



30 Inspirational Quotes From Fictional Teachers and Mentors

From Visually.



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A Photographer And His Husband Challenge Wedding Photo Stereotypes

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Although they’d been in a relationship for over 25 years, John Paul Evans and his partner Peter had scarcely taken a picture together.


“I was critical of the way that photography is used to reinforce concepts of the family and normality,” Evans said in an email to The Huffington Post. As both an artist and a scholar, he’s interested in the formal ways marriage and partnerships have been captured over time, beginning with perhaps the most famous depiction of a union, Jan van Eyck’s "Arnolfini Portrait."


In van Eyck's painting, man and a woman stand stiffly and chastely apart, hands interlocked. Their room is littered with stuff: a mirror, a decadent light fixture, an adorable dog. All that’s missing is a white-picket fence. The pair looks both distant and at ease -- a standard we’ve come to expect from long-married couples.


In his photo series “till death do us part,” Evans hoped to mirror -- and question -- these rigid standards we apply to marriage. The project was conceived of in 2013, when gay marriage was finally on the brink of legal approval in England, where Evans lives.



"As someone who had grown up in a world of intolerance toward homosexuals, it struck me that once you scratch the surface with an issue like gay marriage, these values re-emerge in certain sectors,” Evans said.


In his portraits, Evans and his then-partner, now-husband, play various domestic roles, posing in aprons in a stark kitchen, holding hands while seated at a table, taking a bath together. They assume the parts stiffly, acknowledging that from society’s perspective, they still don’t quite fit in.


“I am aware that Peter and I are not what would be considered as an ideal couple by mainstream media,” Evans said. “There is a 27-year age difference and in real life we have sometimes been confused as father and son. But that is the reality of my lived experience, and on one level I see these works as a personal memoir of two people at different stages in their personal chronology, exploring ideas of space, place and time.”



One way Evans and his partner celebrate otherness within the series is by photographing themselves as outsiders peering into their own domestic space. They stand lurking beside windows, their faces obscured by fractured glass.


“If gay marriage for some people is a perceived nightmare, then making images where the couple seem like intruders has its comic aspects,” Evans said, adding that the choice contributed to the project’s uncanny vibe.


“I hope that the images will convey an unsettling feeling which I would interpret as darkly comic,” Evans said. “It’s a reflection on life and death and the passing of time.”





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The One Category That The Oscars Refuse To Recognize

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The Academy Awards are rigged.


Every year the Oscars bring together Hollywood’s best and brightest to dish out awards in 24 categories, ranging from Best Acting and Directing all the way to Best Visual Effects and Sound Mixing. Virtually every aspect of filmmaking is recognized with one major exception -- stunts.


For the past 25 years, the stunt industry has been neglected, or rather shunned, by the Academy of Motion Picture Arts and Sciences (AMPAS or the Academy for short).


For Hollywood stunt coordinator and second unit director, Jack Gill, it’s felt like a lifetime. Gill joined the Academy in 1990 as one of the earliest members representing the stunt industry. Today, their numbers have grown to 31 members, which is small compared to larger areas of filmmaking like acting or producing, but still an accurate representation of the niche industry.


Known for his early work on the “Dukes of Hazzard” and “Knight Rider,” Gill has now become one of the most influential stunt coordinators in the business, lauded for his contributions to “The Fast & Furious” franchise, specifically in “Fast Five” and “Furious 7.”



In an interview with the Huffington Post, Gill lamented on his plight for stunt recognition following his induction into the Academy. “The Academy Awards were my first approach to try and get this done, and about five years after that, we started approaching the SAG Awards," he explained. "The Academy had come to me and said, ‘Look, if you can get SAG to come on and jump on board, we’ll be more amiable to you, we’ll talk a little bit more about getting it done here.’ Well, the minute SAG jumped on board, I went back to the Academy and still got a no," he said. "Here I am, 25 years later, and we are not anywhere closer.”


The Screen Actors Guild Awards (SAG) are one of two major American award shows to recognize stunts, with the other being the Emmy Awards. Both have chosen to highlight stunts differently, but it is the acknowledgment that matters most. The Emmys added “Best Stunt Coordination” and the SAGs recognize the "Best Stunt Ensemble" in both film and television.



For Gill, it is the stunt coordination that takes precedence. “When you see the Oscar categories, it’s the department head that wins that category. It’s the Director of Photography that wins, not the camera operators. Anytime you put a film together, the stunt coordinator is there way before the film starts in pre-production, designing all of the stunts, reads the scripts, sets it all up, finds the locations ... Integral to each and every part of the filmmaking process.”


And Gill is not alone in this fight. Not only has he started petitions that have garnered support from Hollywood greats like Martin Scorsese and Steven Spielberg, but he also has the backing of his colleagues like stunt performer Brady Romberg.


Mostly dealing in television, Romberg has also worked on films such as “A Walk Amongst The Tombstones” and doubled for leading men like Miles Teller in the 2015 Oscar-winning film, “Whiplash.”



When speaking with HuffPost, Romberg explained that the root of the problem deals with the reputation of stunts. Yes, they have evolved since the '70s and '80s when extras would be asked to hang off piano wires. “Old perceptions of stunts need to be corrected," he said. "I don’t believe that the Academy is going to lead that charge, but I do believe that it’s going to catch up to them.”


Romberg’s response calls attention to the reactive nature of AMPAS. As was seen through this year’s #OscarsSoWhite disaster, unless the Academy is tarred and feathered in the public’s eye, they would rather choose the cushy status quo over being pioneers that could repair Hollywood’s institutional problems. Only after TWO consecutive years of all white nominees did the Academy decide to become more inclusive and diverse (but that’s a whole different story).


But now, the stunt debate has reached a boiling point. Leading the pack of this year’s Oscar nominations are two action films: “The Revenant” has garnered 12 noms and “Mad Max: Fury Road” is in a close second with 10. Both pictures feature masterful stunt work and would not have existed in their current form without their respective stunt departments.



In the past, the Academy has offered a series of excuses ranging from trying to delete categories instead of adding them (they added Best Animated Feature in 2001) to validating their decision by saying that there is no art or science in stunts.


Romberg disagrees. “You can’t create a film like 'Mad Max' if you’re not really using science and art in the way that you design your stunts. If you’re filming a film like 'The Revenant'... they paid careful detail to the stunts. And they argue that’s the director’s vision so the stunt coordinator has nothing to do with it. Yeah, it is the director’s vision, but it’s a collaboration too. It’s teamwork between the stunt department and the CGI department and the directors and actors.”



Still need convincing? Take Gill’s work on “Fast Five.” For the film’s climax, the stunt department designed a high-speed chase where the main characters drag a vault through the streets of Rio. Originally, this was intended to be entirely CGI, but Gill fought for authenticity by creating a lightweight safe that could hold a stunt performer and car inside to allow the vault to be “driven” with the illusion that it was being dragged. That deserves recognition. 



Unfortunately, it’s too late for films that captured the zeitgeist, like “Terminator 2: Judgement Day” and “Raiders of the Lost Ark." And it is indisputable that modern action films could exist without their stunt departments. In 2015 alone, the highest-grossing films of the year were all action flicks, “Star Wars: The Force Awakens,” “Jurassic World,” “Furious 7” and “Avengers: Age of Ultron.”


But, it’s not too late for the future of cinema. The opportunities for amazing stunt work will only grow as franchises like the Marvel Cinematic Universe continue to expand and other explosive movie series barrel through Tinseltown.


The Academy claims to “champion the human imagination.” Well, what better way to do so than by acknowledging the stunt departments that have been able to use their imagination to create unbelievable sequences by championing the art and science of the filmmaking industry.


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Now There's A 'Damn Daniel' Song And It's As Fresh As His White Vans

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Damn, Daniel, this mix is FIRE. 


Yep, after that viral video featuring Daniel in his white Vans charmed everyone, DJ group Bombs Away created a remix based on it. And we have to admit, it's an incredible club banger. 





The song has blown up across social media, racking up more than 13 million views after it was posted to Facebook on Wednesday. 


Really though. No matter how hard you try, you'll end up fist-pumping to "Damn Daniel." 






We apologize in advance for getting this song stuck in your head.  


 


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This Hilarious Coloring Book Is For All The Moms

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Adult coloring books are all the rage these days. They are a great way to de-stress and take a quiet moment for yourself -- and who needs that more than a parent?


Kathy Shimmield was checking out the adult coloring book options one day when she had an idea: "The sarcastic side of me thought, 'Gee, I'd be more interested in this if it was more humorous, if it made me laugh ... ideally at myself and my experiences.'"


So Shimmield worked with illustrator Joshua Lagman to create "A Day In The Life Of Mom." It's an adult coloring book for moms, complete with hilarious (and typical) scenes from a parent's life, paired with funny captions. "It just popped into my mind how funny it would be to combine a satirical but honest view of what parents go through, only have it done with nice illustrations to make it into an adult coloring book," she said. 


And Shimmield hopes the coloring book will give moms "a really well-deserved good laugh, and some much-needed stress relief." And if you're already finished coloring your copy in, she has a second version of the book coming out in a couple of weeks. Grab your markers and enjoy.


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Hell Is This Room Full Of Demolished, Smoldering Hoverboards

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Ever wondered what the fiery pits of Dante's inferno look like? Well, we've got a pretty good idea now thanks to these dramatic images of a giant hoverboard massacre. 


A batch of hoverboards imported from Hong Kong was seized at London's Heathrow Airport and destroyed by the Surrey County Council last week after they were found to have faulty battery packs and potentially explosive features, the Evening Standard reported Thursday.


The council released a series of photos of the hoverboards after they were destroyed. Many boards caught fire during this process and had to be doused with a fire extinguisher, according to Mashable. Their remains were crushed and recycled, along with our hopes and dreams of never having to walk short distances again.



Hoverboards kind of had it coming, though. The devices have an unfortunate history of overheating and bursting into flames within seconds. Some self-balancing scooter explosions have caused dangerous house fires, one of which killed two dogs in California last month. 


The devices have acquired such a widespread reputation as fireballs on wheels that many retailers no longer carry them. Amazon stopped selling some of the more notably dangerous brands last year, and quietly pulled all hoverboard models from their site Wednesday, according to Digital Trends. 



But while we're at it, lets take a moment to remember some of the good times that the boards have brought us. Like this boy group's sublime coordinated hoverboard dance routine to Justin Bieber's "What Do You Mean?" that established self-balancing scooter dance as a divinely powerful art form.


Or this acrobatic dance sequence to Bieber's "Sorry" (what is it with Bieber songs and hoverboards?) that captured the hearts and souls of a generation and reinstated our faith in there one day being a harmonious relationship between humanity and the technology that will surely replace us.


Or that time some dude dressed up like Aladdin and took to the streets on his trusty "magic carpet." That was pretty sweet.


And yet, flames or no flames, hoverboards are still not entirely without fault. The Internet is teeming with fail videos of people mounting and subsequently falling off of hoverboards. These serve as painful -- very painful -- reminders of the cost of attempting to tame the wild, wheeled beasts. 





While many hoverboards are still on the market and reportedly still safe to ride, the Surrey County hoverboard massacre of 2K16 is a symbol of the hoverboard's fall from grace as the coolest new trend in minimal-effort mobility. Though they're definitely still the hottest. 


So RIP, hoverboards. We'll see you in hell. 

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Movie Critic Owen Gleiberman Says This 1950s Film Predicted Donald Trump's Rise

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While some may be surprised by presidential hopeful Donald Trump's rise in the political sphere, film critic Owen Gleiberman told HuffPost Live on Wednesday that a film may have foreshadowed the current events. 


In a conversation with host Caroline Modarressy-Tehrani about his new biography, Movie Freak: My Life Watching Movies, Gleiberman said Trump's appeal can't be separated from the rise of pop culture fantasy that's been growing since the 1980s. 


"For those of us who really look askance at Donald Trump's candidacy ... he is just spitting out this stuff in this very irresponsible but entertaining way. I think he represents the culture of unreality," Gleiberman said. 


But Trump's acceleration hasn't been without warning, Gleiberman said. He pointed to one "prophetic" 1957 film titled "A Face in the Crowd," in which Andy Griffith plays a character who rises up on television to become a demagogue. He explained:



This character seems to look forward to Elvis Presley, ... Ronald Reagan and now Trump in the sense that "Lonesome" Rhodes, Andy Griffith's character, is a singer, a guitarist, a pop culture figure who crosses over and becomes a political demagogue. I think you also see this in [the film]
"Network." The movies have gotten there before us, and these movies were real warnings about what could happen.



Watch the full HuffPost Live interview with Owen Gleiberman here. 


Editor's note: Donald Trump is a serial liar, rampant xenophobe, racistmisogynist, birther and bully who has repeatedly pledged to ban all Muslims -- 1.6 billion members of an entire religion -- from entering the U.S.

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Behind The Video That Made Hillary Clinton's Feminism Go Viral (In A Good Way)

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Hillary Clinton has a young women problem, haven't you heard?


Polls and primaries consistently show that many millennial women favor a white, male Democratic socialist over the woman who could become the first female president in the United States. And there's no shortage of speculation as to why.


While think piece after think piece examines the apparent generational divide between the priorities of older feminists and those just out of college, a viral video (which the Clinton campaign had absolutely nothing to do with) highlights some of Hillary's most unabashed feminist public moments that millennial women might not have ever seen. 


In September, California couple Eric Wing, 36, and Stacey Sampo, 47, made a "Clinton's greatest hits" mashup video of sorts after a trip to DC when the government was considering shutting down over funding for Planned Parenthood.


"It’s important for people to see women in positions of power... It’s time, I think our country needs that," Sampo told The Huffington Post. 


(Watch the full video below.)



Rebel Girl —by Eric Wing and Stacey Sampo

Rebel Girl

Posted by Lori White on Friday, February 12, 2016


The 3-minute video splices together footage from the 1980s up to the present, set to Bikini Kill's "Rebel Girl." In it, Clinton asserts definitively that "women's rights are human rights" at the 1995 UN World Conference on Women, she advocates for access to health security and education, and she makes her infamous, "I suppose I could have stayed home and baked cookies and had teas" comment.


Wing and Sampo, who say they are lifelong Hillary Clinton fans, were shocked to see their video -- which they initially made to share with their friends and family -- blow up on Facebook.


The video went viral last week after comedy writer and Upworthy curator Lori White shared it on her author page. To date, it has more than 7,000 likes and more than 15,000 shares -- many from young women, some of whom are fans of Sanders.


People have shared the "Rebel Girl" video with statuses like, "I am a Bernie Sanders supporter, but I also love Hillary. One can do both! And here one is reminded of what is so great about this woman," "You wanna talk long term commitments...take a look," and "I try to stay away from politics on Facebook, but this video is way too cool not to share."


Clinton has struggled with her public image over the years, at times seen as a dangerously radical feminist, at others as the cool badass who wears shades while texting, and at others, as cold, calculating and in bed with business interests above all. As writer Michelle Goldberg wrote in an essay for Slate about the change of heart she's had since 2008:




...before she was excoriated as a sellout corporatist, she was excoriated as a feminist radical. She was widely seen as being to her husband’s left, in a way that threatened his political viability. Time after time, under intense pressure, she would overcorrect, trying to convince a skeptical mainstream press that she was a sensible centrist. Eventually, her tendency toward triangulation became almost instinctive.


Since the ’90s, of course, American politics have become far more polarized, and the Democrats have moved left. The result, for Clinton, is an almost tragic irony. She’s now struggling to convince voters that she is the person she was once widely assumed to be.




It's this history that is especially frustrating for long-time supporters of Clinton, like Wing and Sampo.


"Whenever she’s not running for office, she’s beloved by everybody," said Wing, expressing an opinion that writer Sady Doyle recently outlined in an essay for Quartz, "but as soon as she starts to go up against a man, frankly, suddenly all the Republican talking points start coming out and they seem to stick."


"I wanted people to see how long she has been in politics," echoed Sampo, "how long she has been advocating for people who need a voice."

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Our Final Oscar Predictions, Plus Who Should Actually Win At Sunday's Awards

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With days to go until the 88th annual Academy Awards celebrate the skills of a lot of glitzy white folks, it's time to lock in your ballot in the office pool. It's been a wild awards season -- some categories still don't have clear front-runners. In other words, good luck.


But we're here to help! We've been monitoring the Oscar race since it began around Labor Day, and while much has erupted over the course of those six months, we do have at least a vague idea of who will have the most cause to celebrate come Sunday night. Below, we'll weigh in on who will -- and who should -- win this year's prizes.




Also on HuffPost:


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These Sex-Positive Feminist Artists Were Way Ahead Of Their Time (NSFW)

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Warning: This post contains nudity and may not be suitable for work environments. 



Many contemporary feminist artists show a lot of skin. And why shouldn't they? As fourth-wave feminism professes, women are free to express their sexuality as they so desire -- celebrating their bodies, experiencing pleasure, being sexy and girly and smart and serious all at once. 


Rewind a couple of feminist waves, however, and the conversation surrounding sex and feminism was different. Decades ago, some mainstream feminists viewed sexuality through the lens of male agency, assuming a sexualized woman would lead to objectification and oppression. Likewise, all pornography and illicit imagery was deemed demeaning to women, as it diminished subjects to the status of sexual objects. That's the story we're told, of a self-policing movement that told women to button up and act respectably -- essentially, like men -- to be treated as such. But, of course, there were many cacophonous voices contributing to the feminist movement in the 1960s and 1970s, and many dissenting visions as well. 


An ongoing exhibit at Dallas Contemporary titled "Black Sheep Feminism: The Art of Sexual Politics" examines the work of four radical feminist artists whose work is often left out of discussions regarding feminist art for its unabashed NSFW content. Joan Semmel, Anita Steckel, Betty Tompkins and Cosey Fanni Tutti embraced graphic, feminine sexual imagery in their work, encountering backlash from both the mainstream public and orthodox strains of feminism in the process. 



When painter Betty Tompkins was trying to make it as an artist in 1970s New York, she did her research, visiting all the big uptown galleries to see who was making it big and what it was they were making. Around 90 percent of what she saw, she estimates, was crap. 


"It disturbed me how bored I was," Tompkins told The Huffington Post in an interview. "I couldn’t make my body stay in a gallery for five minutes. That’s when I realized I wasn’t seeing very many shows by women artists." This assessment was confirmed when, she says, after approaching some dealers with slides of her work, they had no qualms advising: "don’t bother coming back, we don’t show women."


This was the (art) world for women. Or rather, decidedly not for women.


Tompkins grew up in a progressive family. Her father was the was the head of the Progressive Party in Philadelphia, and her mother the family's primary breadwinner. So Tompkins never grew up feeling that, as a woman, her options were limited. She recalled watching feminist pioneers Gloria Steinem and Betty Friedan on late night television: "They were all saying the things that I knew."


When she got to college, however, Tompkins got a taste of misogyny in the worst of ways. When she told her professor her plans to move to New York to become an artist, he responded: "The only way you’re going to make it in New York is flat on your back." 


"It was terrifying to me," Tompkins said. "It was the assumption that I’d have to agree to my own rape." This wasn't the only instance of sexism she encountered in art school. One professor actually devoted an entire three-hour lecture to explaining why there were no great women artists. 


"If somebody said you paint like a man, that was the highest accolade," Tompkins said. "Everybody told me I painted like a man. Which is to say I was strong and gutsy and took on whatever I wanted to take on. What they meant by girly art was something very weak -- no confidence, no gusto."


In 1969, Tompkins embarked on a series of "Fuck Paintings," massive black-and-white images of heterosexual penetration taken directly from her then-husband's porn collection. "It was so illegal," Tompkins cooed when discussing the charged appeal of the subject matter. While today porn is a click or two away, her husband at the time rented a P.O. box in Vancouver to ship porn photos from Singapore and Hong Kong. "It was a different time."


One day Tompkins was fooling around with the porn collection, cropping the two-by-three-inch photos with her fingers to hone in on different details. Suddenly, something clicked. Tompkins' paintings translate the minuscule photo clippings into six-by-seven-foot paintings, transforming recognizable genitalia into a dreamy alien vision. 


Tompkins brought her work to dealers and they all said the same thing: she was too young, too inexperienced, or more plainly, a woman. She even contemplated having her husband take in the work as his own, but he refused. Tompkins was never quite shocked by all the rejection; art school had trained her to expect as much. "I was never a painter who wanted other people to love my work," she said. "No expectations, please yourself."



"If the erect penis is not wholesome enough to go into museums it should not be considered wholesome enough to go into women," proclaimed the manifesto of the all-female art collective The Fight Censorship Group. "And if the erect penis is wholesome enough to go into women then it is more than wholesome enough to go into the greatest art museums."


The group was founded by artist Anita Steckel, who passed away in 2012. Steckel is known for incorporating the eroticized male physique into her artwork, doing her part to settle the wildly lopsided score. She painted over vintage photographic postcards with cartoonish erections and jolly excretions. "It certainly didn’t turn me on," a legislator once said when demanding the work be taken down.


Citing Harpo Marx as an inspiration, Steckel crafted frisky visual jabs at sexist culture. For example, in one work, she adorned the towering New York skyline with buxom babes straddling the skyscrapers in just the right ways. In a reaction to the burgeoning Pop Art movement of the time, Steckel dubbed her own movement "Mom Art."  


Joan Semmel was another member of the Fight Censorship Group, along with artists including Louise Bourgeois and Hannah Wilke. In the 1970s, Semmel was known for her psychedelic figurative paintings of couples having sex. The images were based on photographs Semmel took of an exhibitionist with various women he'd bring to the studio.


For Semmel, the polychromatic element of the images complicated their explicit content, placing the result somewhere between the categories of porn and art. "You have to remember that back then the word 'pornography' had all kinds of horrible connotations, not in the way it does today," Semmel explained in an interview with Hyperallergic.


"You can’t think of it the same way. If you said 'pornography,' you immediately imagined the dirtiest, most horrible thing, whereas today it’s an industry, it’s a product, and it’s on every television screen, and it’s coming into every household. It has a very different connotation than it did back then, so I was terrified of being called a pornographer ... The color brought it into the art realm of aesthetic experience."



Like Tompkins, UK-based artist Cosey Fanni Tutti was fascinated with the underground world of pornography. "This is where men's sexual fantasies came from," she told HuffPost. "They were formulated by these magazines." 


As a young woman in the 1970s, Tutti yearned to see what went on behind closed doors in the adult entertainment industry, this clandestine factory of fantasy. "I would look at these magazines and wonder what was actually going on when the photos were taken. How did the girls feel? Were they coerced? What were the photographers like? The editors? I infiltrated their world and found out."


Tutti posed for over 40 magazine spreads, never revealing her identity as an artist. "I had to be a character," she said. "When you walk in to an audition they can sense the kind of girl you are. How that will fit with what they have in mind for that particular shoot. I had a separate wardrobe for auditions. Everything was done differently. I was a model the moment I walked out the front door."


During her time undercover, Tutti encountered a wide array of individuals, some sinister, others impartial, some who were passionate about the quality of their images, others who treated the models as "just meat." 


The discrimination Tutti encountered in the porn industry, however, was emblematic of the culture at large. "It was a sexist world," she said. "Now people have to be a bit more careful about what they say and how they say it. Back then you were just pinched on the backside or the boob. That was supposed to be accepted. Some photographers on set assumed you were just an easy lay."


Even so, Tutti didn't consider herself a feminist. "It wasn’t a diverse concept at all. It didn’t cover all the different kind of women I knew."



Tutti compiled images from her experiences in an exhibit aptly titled "Prostitution." Except, the images were prohibited from being shown in the public gallery space. "We had to create a smaller room in the back and have boxes built to look at them," she said. 


Given the overwhelming number of nude women depicted on museum walls, Tutti was overwhelmed by the hypocrisy. "You think of all the paintings of nude women and I couldn’t understand why my nudes could not be artwork. I think the negative response was partly this reaction to the fact that I’d exposed this male, private, fantasy world, I’d entered their territory."


At the time, Tutti wasn't aware of artists like Tompkins, Semmel and Steckel with such similar interests. Now, she is thrilled to be associated with their work. "I've had so much animosity directed towards my work it was fantastic to see that other people were doing things like this."


Feminist art isn't just one thing. These four artist bravely went against the grain of not only mainstream culture but the prevailing sentiments of orthodox feminism as well, paving the way for third and fourth-wave feminist movements. Or, in Tutti's words, "It’s not about bravery, it’s just about freedom."


"Black Sheep Feminism" runs until March 20, 2016 at Dallas Contemporary.





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11 Rockin' Baby Name Ideas For Parents Who Love Music

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Rock music legends continue to inspire fans and fellow artists well beyond their heyday. Their influence can also reach expectant parents in their baby naming decisions. Here are 11 baby names inspired by musical icons.


Lennon



Beatle John Lennon died in 1980, but it wasn’t until 2008 that his name started to be widely commemorated on birth certificates. It’s now at its highest ever: number 691 on the Social Security Administration's list of popular baby names. The last two years has seen it suddenly popping up girls' names list as well, where it currently ranks at number 699. Harrison also has the magical mystery Beatles touch.


Presley



 The King’s surname has been a unisex success story for decades. Presley is now at its peak point of number 189; it was given to 1700+ baby girls last year. It is much more popular than Elvis is for boys.


Dylan



Dylan has had the longest run of any musician-related name: Bob Zimmerman’s poetic stage name took off in 1966, entered the Top 50 in 1990 and is now number 29, given to 10,000+ boys last years. And, since 1993, girls have worn it as well, now at a pink high of number 394.


Jackson



There are several forces behind the smashing success of the cool name Jackson, and Michael’s diehard fans definitely account for part of it. Now at its highest point ever, number 19, Jackson was given to more than 12,000 boys in 2014 and is showing no signs of declining.


Jagger



The surname of Mick Jagger didn’t reach the list until 2001, when it was first used as a middle name by Tommy Lee and Pamela Anderson for their now-grown son who was born in 1997. It has since been adopted by numerous musicians and other celebs. Now at number 705, Jagger is 318 on Nameberry.


Axl/Axel



Axel is a classic Scandinavian name, but Axl is strictly Guns N’ Roses. Axl entered the popularity list just last year, coming in at number 850, thanks in part to Fergie and Josh Duhamel, who named their baby boy Axl. Axel, the name that Will Ferrell and his Swedish-born wife chose for their son, is way up at number 145, given to more than 2,700 boys last year.


Bowie



Bowie has not yet entered the Top 1000, but surely the outpouring of adoration and grief following his recent passing will inspire many more parents to honor the iconic musician. And it doesn’t hurt that cousin names like Bodhi, Bo and Beau are also gaining popularity.


Everly



Phil and Don, the harmonizing Everly Brothers, are associated with such early hits as “Wake Up Little Susie.” The name Everly inspired the parents of over 1,800 girls last year. The fast-rising Everly climbed 727 places in two years, thanks also to its hot Ev-beginning. Recently Channing Tatum and Jenna Dewan-Tatum chose the name for their daughter. 


Hendrix



Iconic and influential rock guitarist/singer/songwriter Jimi H. lives on as the namesake of a number of baby boys, thanks also to its trendy x-ending. It was first used by heavy metal man Zakk Wylde in 2003, reached the Top 1000 in 2011 and is now at number 546 on the SSA's list 196 on the Nameberry list.


Crosby



Crosby has two musical connections -- crooner Bing and rocker David, of Stills and Nash fame (Nash is also on the rise) -- as well as the "Parenthood" character. The laid-back Crosby was new to the list in 2011 and has since hit a new high of 614.


Prince



This royal name has been in the Top 1000 almost every year since records have been kept, but had sunk down to the 900s when the Purple Rain singer was becoming a superstar. It is now back up to 412, thanks both to Prince’s loyal fans -- and the general popularity of "noble" names.



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Viola Davis On Her Humble Beginnings And Her Fight To Diversify Hollywood

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Viola Davis was born at her grandmother's house on a plantation in St. Matthews, South Carolina in 1965. She moved to Central Falls, Rhode Island, at a young age and grew up in, what she describes as, "abject poverty and dysfunction." 


She relied on inspiration to guide her through childhood into adulthood and reached for the stars as she began her acting career as a teenager. These days, Davis can't even comprehend the level of success she's achieved in her life -- she's simply grateful to have a stocked refrigerator. 


"It's like going over an ocean that's blue and green and you can see clear to the bottom, you can't even believe it, it takes your breath away," Davis told The Huffington Post when asked how she feels looking back on her journey. "It's that same sort of feeling I get when I think of growing up in an apartment that was on the third floor of a building that was rat-infested ... I always just dreamed about having a home with a spiral staircase, or I just thought about having a husband and three meals a day or opening up a refrigerator and seeing food. They were really simple dreams."


Dreams. That's what inspires Viola Davis every day, and it's why she decided to team up with international medical aid organization Direct Relief on The Vaseline Healing Project, aimed at providing dermatological care, Vaseline jelly and medical supplies to help heal the skin of people affected by poverty or emergencies around the world.


"I know from growing up in poverty that what would have opened up my life would be very simple solutions -- soap, food, clean clothes," Davis told HuffPost. "I know the idea of simple solutions to bigger problems could make the difference between people getting back to their lives."


Davis seems to know a thing or two about finding solutions. Not only is she a voice for The Vaseline Healing Project, she is one of the most powerful voices representing women of color in the entertainment industry today. With all of the discussion surrounding #OscarsSoWhite, Davis has stepped forward to share her insight into the diversity issue in Hollywood. 


While appearing on the "Today" show earlier this week, the Juilliard-trained actress said, "I think one of the things people misunderstand [is that] you have to separate opportunity from talent -- that people feel like if the roles aren't there, that means there's no talent out there. That's not true. What's true is, if you create those narratives, then those roles can open up to people who are waiting in line."


She expanded on those comments when she sat down with HuffPost at The London Hotel in New York City on Wednesday. 


"I really fell in love with acting -- the craft of acting. I didn't just want to be a celebrity," Davis explained. "I probably have the same kind of past as a Julianne Moore or a Sigourney Weaver or any of them, but they far surpassed me in terms of their opportunity. And that's the difference. Your work and what you invest in your talent doesn't match the opportunity of the narratives that are out there. So you have to take all that you have and pour it into [playing] the detective in 'Disturbia.'"


(Side note: Davis played one hell of a detective.)


At 50, she has really found her stride, gaining momentum following her incredible, Oscar-nominated portrayal of Mrs. Miller in 2008's "Doubt." She was only in a few minutes of the movie, but stole the spotlight from her more famous co-star -- you know, that actress named Meryl Streep. Of her performance, The Washington Post said, "In one utterly galvanizing scene, she single-handedly defines this riveting movie, emerging as its most arrestingly conflicted character and -- not incidentally in a film that's all about spiritual rigor -- its most compelling and unsettling moral voice." 





Things only got better from there, as Davis nabbed the starring role in 2011's "The Help," playing Aibileen Clark, a maid living in 1960s Jackson, Mississippi, who contributes to a young white woman's book about the racism African-American maids face while working in white households. Adapted from Kathryn Stockett's novel of the same name, "The Help" was nominated for four Oscars in 2012 -- Best Picture, Best Actress for Davis and Best Supporting Actress for both Octavia Spencer and Jessica Chastain. Spencer took home the golden statue for her portrayal of maid Minny Jackson.


"Everything changed with 'The Help' and the Best Actress nomination," Davis told HuffPost of finding roles, continuing, "but you know, this is a three- or four-hour conversation because there is a method to the madness with all the opportunities you get. I've gotten a lot of opportunities. They're not the same as my Caucasian counterparts, but they certainly are a lot."


Since "The Help," Davis has appeared in "Extremely Loud & Incredibly Close," "Prisoners," "Ender's Game" and "Get on Up," among others. She's also set to star as antiheroic government official Amanda Waller in the upcoming DC Comics film "Suicide Squad." 


"I want [my roles] to be different because I see myself as definitely more expansive, probably, than the business sees me. That's why my husband [Julius Tennon] and I developed a production company, because I want to do it all," she said of JuVee Productions, which recently produced "Lila & Eve." "You know, for a long time I apologized for that, for wanting to do it all because that almost seems egotistical to me, like, 'I want it all! I want it all!'" Davis added. "But that's what we tell our kids ... you tell them that it's possible, you have to tell them that."


And in Davis' world, anything is possible. These days, she's starring as Annalise Keating on ABC's hit show "How to Get Away with Murder," which airs in the coveted "TGIT" time slot alongside fellow Shondaland series "Grey's Anatomy" and "Scandal." The role earned Davis the Emmy award for Best Actress in a Drama Series, making her the first African-American to win in that category. Her speech touched on everything we got into during our discussion. 


"I was very focused and very calm in that moment because I knew exactly what I wanted to say. And what I said is I cannot be who I am if I'm the third girl from the left," she explained. "To distinguish between opportunity and talent is something that people needed to know. No one is writing for us, no one is giving us these jobs. So you can't just wonder why aren't we up there if there's nothing out there for us to be up there for."





This interview has been edited and condensed. 

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See A Virtual-Reality Reggie Watts Break It Down In This 'Creative Control' Clip

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Bored? In the not-too-distant future (as in, approximately five minutes from now), you'll be able to create lifelike avatars of whatever companion you care to summon. At least, that's what the characters in the new movie "Creative Control" are doing.


The Huffington Post and its parent company, AOL, have an exclusive clip from the surreal dramedy, which won a jury prize at last year's South by Southwest. Ahead of its March 11 release in theaters and on Amazon's streaming service, watch below as "magic glasses" -- the movie's version of augmented reality -- conjure up an electro-groovy Reggie Watts. 







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The Dictionary Just Trolled Donald Trump

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Even the dictionary is ganging up on Republican hopeful Donald Trump. 


Following his poor performance in Thursday's GOP debate, the business mogul sent out a string of garbled tweets attacking his rivals on Friday morning.


He called Florida Sen. Marco Rubio a "Leightweight chocker [sic]" twice, and wrote that it was a "Great honer! [sic]" that so many polls showed him winning the debate.  


That's when the venerable dictionary publisher Merriam-Webster decided to get in on the fun.  






After a few hours, Trump realized he'd misspelled some of his insults and deleted them.


But not before the transparency-focused Sunlight Foundation's "Politwoops" service, which archives deleted tweets, saved them for posterity.


The screengrabbed tweets can be seen below:





Editor's note: Donald Trump is a serial liar, rampant xenophobe, racist, misogynist, birther and bully who has repeatedly pledged to ban all Muslims -- 1.6 billion members of an entire religion -- from entering the U.S.

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Adorable Kids Recreate The 2016 Oscar-Nominated Movie Posters

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For four years, Maggie Storino has been recreating iconic images from the Oscar Best Picture nominees with the help of her adorable daughters. The mom shares the images on a Tumblr and Instagram titled "Don't Call Me Oscar."


This week, she unveiled the latest crop of photos, starring 5-year-old Sophia, 3-year-old Sadie and 8-month-old Sloane. From "The Martian" to "The Revenant," these reimagined movie stills give the Academy Award contenders a special dose of cute.


Check the old and new versions below:


"The Big Short"




"The Martian"




"Brooklyn"




"The Revenant"




"Mad Max: Fury Road"




"Spotlight"




"Bridge of Spies"




"Room"




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