Earlier this week, Crayola announced its plan to “retire” a crayon from its classic 24-pack. Although the hue in question was not supposed to be revealed until Friday (known to coloring aficionados as National Crayon Day), the truly historic news slipped out early.

On Thursday, the world learned that the color “announcing his retirement” is ... Dandelion.

For those who haven’t examined a Crayola box since pre-K, Dandelion is a yellowish crayon, not to be confused with actual “yellow,” “yellow green” or “green yellow.” 

Crayola confirmed the news on Twitter, posting a strange video of an animated Mr. Dandelion traveling the world as a free man crayon. If you don’t like to imagine your box of crayons as animate beings trapped eternally in a cardboard box, you might not want to watch the clip.

Although the retired shade will no longer be produced as a crayon, it will live on in Crayola’s Color Hall of Fame. And if you aren’t quite ready to say goodbye, there is a Facebook live-stream planned for tomorrow to ceremoniously break the news.  

Will you be mourning crayon life sans Dandelion’s yellowy touch? Let us know your fondest memories of the waxen shade in the comments. 

Tina Fey, Alec Baldwin, Tom Hanks, Tracy Morgan, Maggie Gyllenhaal, Michael Moore, Padma Lakshmi and a whole host of other stars are teaming up for Stand for Rights: A Benefit for the ACLU. Donate now and join us at 7 p.m. Eastern on Friday, March 31 on Facebook Live. #standforrights2017 

You can support the ACLU right away. Text POWER to 20222 to give $10 to the ACLU. The ACLU will call you to explain other actions you can take to help. Visit www.hmgf.org/t for terms.

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For decades, Latina authors have written empowering stories of women navigating family, culture and societal norms to find their true selves.

Books by Gabby Rivera and Alida Nugent have most recently helped paint a portrait of what it means to be a Latina feminist today. But even before these women put pen to paper, authors like Sandra Cisneros and Laura Esquivel were already paving the way with narratives centered on strong Latina women.

In the spirit of intersectional feminism, we compiled a list of 11 books by Latina authors that every feminist should read.

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In September of last year, we witnessed a side of Jewel we’d never seen before. 

The beloved singer-songwriter took part in Comedy Central’s Rob Lowe Roast and showcased her sense of humor, as she not only scalded the actor but fellow participant and conservative commentator Ann Coulter.

While smiling and strumming her guitar, she made a few cracks at Coulter, but one in particular stood out.

“Jeff Ross is going to party like it’s 1999, Ann Coulter is going to vote like it’s 1899,” she said, looking at Coulter and adding, “Ann, you do look great though. You’re almost as thin as Donald Trump’s chance of winning the election, so that’s cool.” 

Little did she know her joke wouldn’t have a shelf life.

When The Huffington Post asked about the burn during a Build Series interview with Jewel on Thursday, the “Hands” singer said, laughing, “She won, they won. yup. Go them.”

Jewel said she’s always had a dark sense of humor, it’s just that not everyone knows about it. 

"But people have seen me live and know I do a lot of stand-up in my shows. I have a very dark sense of humor. I think to survive the type of life I’ve had, you just have to have a sense of humor,” Jewel, who left home as a teen and lived out of a car for a year before making it into the music industry, said. “So the people who are closest to me know my darkest, darkest skits ― I have a lot of characters and a lot of skits I do that are completely politically un-correct. But maybe they’ll be another future for me and I’ll be able to share some of that.”

Still, don’t think Jewel will “save your soul” with her one-liners. 

“It’s not like my music at all,” she quipped. 

Watch Jewel’s full Build Series interview about her new Hallmark Movies and Mystery project, “Concrete Evidence: A Fixer Upper Mystery,” below. 

Tina Fey, Alec Baldwin, Mahershala Ali, Amy Poehler and a whole host of other stars are teaming up for Stand for Rights: A Benefit for the ACLU. Join us at 7 p.m. Eastern on Friday, March 31 on Facebook Live. 

You can support the ACLU right away. Text POWER to 20222 to give $10 to the ACLU. The ACLU will call you to explain other actions you can take to help. Visit www.hmgf.org/t for terms. #StandForRights2017

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Horror fans, rejoice! Stephen King has a new book on deck and the co-author is his own flesh and blood.

Written with his son Owen King, his new novel Sleeping Beauties reminds us of The Handmaid’s Tale meets “Stranger Things” meets, well, “Sleeping Beauty.”

Set in a small Appalachian town in a dystopian future, the plot focuses on the weird thing that happens to women when they go to sleep: they become shrouded in a cocoon-like gauze.

The Amazon description reads as follows:

“If they are awakened, if the gauze wrapping their bodies is disturbed or violated, the women become feral and spectacularly violent; and while they sleep they go to another place... The men of our world are abandoned, left to their increasingly primal devices. One woman, however, the mysterious Evie, is immune to the blessing or curse of the sleeping disease. Is Evie a medical anomaly to be studied? Or is she a demon who must be slain?”

King tweeted out the book’s cover, as well as the fact that his son is his co-author, on Wednesday. Meanwhile, Owen King tweeted out a link to the Entertainment Weekly piece that features an exclusive excerpt of the book:

2017 is proving to be quite the year for the Kings, particularly since the remake of the film “It,” based on Stephen King’s 1986 novel of the same name, comes out Sept. 8. The just-released trailer for “It” has us shaking in our boots, fearing Pennywise the clown once more. 

As for the book, you can currently pre-order “Sleeping Beauties.” It hits shelves everywhere, just a few weeks after “It,” on Sept. 26.

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Photographer Jordan Matter has made a name for himself with his series of images of dancers around the world. For his latest project, he highlighted a special group of dancers: children.

“Tiny Dancers Among Us” features kids and teens with a passion for movement. Matter, who has two children himself, spent two years photographing creative kiddos in locations across the U.S., Europe and North Africa. 

After Matter’s 2012 book, Dancers Among Us, became a bestseller, he struggled to come up with a concept for his next big project. “Then one afternoon when my daughter was shoveling snow, I grabbed my camera,” he told The Huffington Post. “She looked right at me and hit an arabesque. ‘Tiny Dancers Among Us’ immediately popped into my head, and my next book was born.”

The photographer has found many of his “Tiny Dancers” subjects through his popular Instagram account. He’s also received emails from children and parents asking to participate in the shoots. These emails usually include a few photos and personal notes about what dance means to these kids.

“One 10-year-old wrote such a persuasive email that I flew from NYC to LA just to photograph her,” Matter said. “When I shoot, I rely on serendipity. None of the photos have been planned ahead of time, I just pick a central location and walk around until I see something interesting. Then the dancer and I work together to construct a pose that tells a story.”

Matter believes his photos celebrate the nostalgia and everyday moments of childhood. “As we become adults, we seem to lose our innocent wonder, and our imagination is often replaced with indifference,” he said.

While photographing the dancing children, he tries to see the world through their eyes and remember his childhood sense of joy, wonder, excitement, fear and more. Matter finds the kids he’s photographed inspiring. Said the photographer, “I am struck by their talent, dedication, passion, tenacity and most importantly, imagination!”

Matter is currently looking for even more “tiny dancers” to photograph. He teamed up with the photo software developer, Macphun, to launch a contest for kids to win an opportunity to appear in the book.

“We are asking every dancer to submit two photos and a personal story,” he explained. “The contest started last week, and we’ve already heard from hundreds of kids.”

To learn more about the contest and see more of Matter’s photos, visit his “Tiny Dancers Among Us” website.

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A teenage boy paid tribute to his creative mom in a very sweet way.

On Thursday, a 15-year-old Reddit user named Eli shared a photo of the creative cards his mom, Kirsten, makes for his 8-year-old sister, Lucia.

In the caption, he wrote, “My mom goes out of her way every day to make one of these cards for my 8-year-old sister. I feel like she isn’t appreciated as much as she should be, but I wanted to share to you guys some of my favorites!”

Eli told The Huffington Post his mom has been making the cards for about a year. “She got her inspiration after my 8-year-old sister started having health issues concerning her ability to use the bathroom and her overall feeling ill,” he said. “She doesn’t use any photos from websites but gets the inspiration from drawing the character from memory.”

The teen said his sister loves the cards and often shows them off to her friends at school. The uplifting drawings and messages also help her get through difficult days. 

Eli’s Reddit post received a lot of positive attention and rose up to the front page. Many Redditers shared their childhood memories of their own mothers. Kirsten was touched by all the affirmative feedback.

“I hope people see that our parents do care for us,” Eli told HuffPost. “And maybe those cards you got back then seemed annoying ― that was our parents trying to reach out and show their affection.”

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When Mindy Kaling’s show “The Mindy Project” premiered in 2012, few would have accused it of having an after-school special vibe. Her character, a Manhattan OB/GYN with a romantic comedy addiction and an endless parade of hot (and white) boyfriends, had no concerns outside of getting introduced to NBA players at clubs and running into her ex at a friend’s Thanksgiving. But over the course of five seasons, a move to Hulu, and myriad exclamations of “exsqueeze me??”, the picture has changed.

“When we first started the show, I think, at first, we weren’t talking about [social issues] as much,” writer Ike Barinholtz, who also plays the delightfully awful nurse Morgan Tookers on the show, told The Huffington Post in a phone conversation. “But I think the world’s changed a little bit.”  

Season five of “The Mindy Project” wrapped up on Tuesday with (spoiler alert!) Mindy Lahiri’s just-okay proposal to boyfriend Ben (Bryan Greenberg). Soon after, EW reported that the sitcom would be returning to Hulu for a sixth season, which will also be its last.

In five seasons, “The Mindy Project” has been through more ups and downs than the average TV show; cancelled by Fox after three seasons on the air, the show was picked up by Hulu as a streaming series. There’s been no shortage of drama on-screen as well. Mindy Lahiri, the OB/GYN played by show creator Kaling, has been engaged (several times), had a child, split up with her son’s father, started her own fertility business, and now is poised to be a stepmother to a tween girl. In its first season, the show took flak from critics for being too surface-level, too girly and, oddly enough, too white (especially Mindy’s parade of pale boyfriends). On the verge of its final season, the show has quietly become a consistently political one.

That’s not to say that the show traffics in “Saturday Night Live”-level satire. The presidential election didn’t become a plot point on the fifth season, or even fodder for copious jokes. But increasingly throughout its run, and particularly during its post-Season-3 incarnation on Hulu, “The Mindy Project” has specialized in bold, high-concept episodes that push its protagonist and audience to grapple with race, gender and class privilege.

“I think in earlier seasons of the show, Mindy Kaling wanted to just present a normal sitcom about dating, when she is sort of a nontraditional sitcom lead,” “Mindy” writer Lang Fisher told HuffPost. In the show creators’ eyes, Kaling taking on the role of an adorable rom-com lead, when she doesn’t resemble the typical tiny blonde American romantic heroine, constituted the show’s most potent political message. Not all critics saw it that way.

“When she did come under fire for being conventional and yada yada, I think that was upsetting because she’s not conventional. No one else looks like her on TV, particularly when this show started,” said Lang. “I think it was very hard for her to be criticized for that when many other shows with all-white casts were never criticized.”

The show’s early treatments of race bear a whiff of defensiveness, or at least hyperawareness of its detractors. Barinholtz cowrote one of the first episodes that explicitly addressed race: “Mindy Lahiri Is a Racist,” which appeared in Season 2 ― after the show had been knocked around by critics of Mindy’s exclusively white male fellow doctors and romantic interests. “I remember in the writers room that summer, Mindy was like, let’s do a really really funny race episode,” he said.

The result: An installment in which an expecting mother endorses Mindy’s practice on her white supremacist parenting blog, inspiring the crunchy liberal midwives in an adjoining office to lead an anti-racism crusade against them. It turns out that it’s being accused of racism that brings out the doctors’ worst impulses: Dr. Danny Castellano (Chris Messina) indignantly protests that (unlike Mindy) he’s dated many non-white people. Mindy thinks her own race precludes the possibility of her racism, even as she talks down to the practice’s black nurse, Tamra (Xosha Roquemore). “Sometimes you can get a little ‘Downton Abbey,’” Tamra points out. 

Somehow, it’s fratty white doctor Peter (Adam Pally) who salvages the practice’s reputation ― he wants to start a mobile service to bring women’s healthcare to underserved communities.

The episode teased out Mindy’s own deeply conservative (“she kind of notoriously thinks Chris Christie is right on,” said Barinholtz) and even racist tendencies. “I went to second base with my friend Korean Justin!” her character brags in front of a PR consultant brought in to fix the practice’s racist reputation. “His hands were so small, they made my boobs look enormous.”

But the episode also highlights the hypocrisy of the virtue-signaling white liberals around her. “Sister Tamra, you work at Shulman & Associates,” one of the white, male midwives urges Tamra at a rally. “Tell us how much it’s like 1950s Birmingham.” He’s not so much offering her a chance to speak as he is pushing her to ventriloquize his own talking points. And while the episode lightly jabbed at critics who seemed to expect far more from her than her white showrunning peers, it also honestly and hilariously explored the problematic beliefs that lie behind the tolerant, egalitarian faces social progressives put out into the world.

It turned out, though, that “The Mindy Project” had more to say about race ― on its own terms this time. Even as headlines about Mindy’s lily-white boyfriends were supplanted by hot takes on newer show, the sitcom was getting more pointed in its social commentary. The show was ready to expand its scope. “We’ve already made the point that she can have a conventional sitcom,” Fisher said. “So… what other points can she make as this character?”

For one thing, the show is ready to get a little weird. “The Mindy Project” follows the romantic comedy model, right down to Mindy’s own conviction that she’s perpetually moments away from finding herself the star in a real-life iteration of the form. The show has always been littered with bizarre meet-cutes and dramatic confessions of long-festering love.

“We’ve paid homage to these different rom-com tropes, and we kind of have just wanted to have a little more fun with some of the weird ones, like the ‘Sliding Doors’ and ‘Groundhog Day,’” Fisher added. Sometimes the lessons are romantic ― forcing Mindy to relive one day until she understands what she did wrong to lead her boyfriend Ben to dump her ― but other times, those tropes are repurposed completely.

In “Mindy Lahiri Is a White Man,” she’s passed over for a second interview for head of obstetrics at the hospital. All the second-round candidates are white men. Even though she eagerly assured the board ― in response to some truly horrifying and possibly illegal questions ― that she could balance the job with motherhood by working instead of exercising, and that she could keep her emotions in check to lead, she was ignored in favor of less-qualified male candidates. “I wish I was a white man,” she sighs before bed that night. And so she wakes up as a white man: Michael Lancaster, played by Ryan Hansen. Suddenly, her life is awesome. Michael’s ex takes care of their kids, and no one is worried that he can’t balance his role as a father with a demanding job. He can get ready for work and look professional in five minutes. He can pee standing up. Her coworkers listen to him respectfully and laugh at his jokes.

Unfortunately for him, Michael can’t really enjoy all this privilege; he’s too aware of the flip side. After another doctor, Dr. Irene Lee, covers for a procedure while Michael is hungover, he realizes that quiet, self-effacing Dr. Lee is a supremely competent and qualified candidate for the head of obstetrics job. As an Indian-American woman, Mindy asked Dr. Lee not to sit near her in the waiting room so people wouldn’t think they were an “Asian clique”; as a white man, he feels thrilled to have the power to get his colleague noticed. Michael coaches his new friend on speaking confidently, grooming herself and dressing herself more attractively, and insists that the board give Dr. Lee a second interview.

Still, Dr. Lee doesn’t get the job ― in fact, the board tries to offer it to Michael, impressed with his dedication to diversity. Apparently it takes more than one woke white man to fix systemic injustice.

“There’s a million great things about being a white guy, and that’s just counting the things you can do with your penis,” Michael/Mindy reflects that night. “But the sad thing is having the ability to help other people, and most of the time just not doing it. It’s just so easy not to. Your life is so carefree.” Unusually for a protagonist dealing with a body-switch scenario (see: “Freaky Friday” and “The Switch”), she’s realized that the other person’s life really is as amazing as it seemed to her. Nonetheless, she wants her life back ― despite the disadvantages, she realizes, she likes being an Indian woman.

The episode explores how being a white man both is and isn’t a silver bullet ― even a white doctor who’s losing it mentally and may have killed his wife is more likely to get a management job than an Asian-American woman (after all, his late spouse was “a difficult woman”). But a white man can’t fix oppression with the force of his convictions; it takes more work than that. Plus, it’s hard to remember to do the right thing when the world around you seems relatively pleasant and welcoming.

Ultimately Mindy takes a lesson away from the experience: She befriends Dr. Lee. Only hanging out with white men seemed safer, cloaking her with an aura of simultaneous chillness and importance in a way that being in an “Asian clique” wouldn’t. Now, she’s done playing that game; it didn’t work anyway.

In many ways, as the show takes pains to uncover, Mindy’s problematic views come from a misguided desire to identify with society’s power brokers, to shine as the one worthy woman. She’s driven to be hot, stylish, popular, chill and successful, all in one package; to be Beyoncé, Lady Gaga, and the Gillian Flynn-esque Cool Girl. In another Season 5 episode, “Mindy Lahiri Is a Misogynist,” the male doctors at Shulman & Associates set out to hire another doctor ― a female one. Worried about losing her special spot as the only female doctor in the practice, Mindy tries to push a sweaty, sloppily dressed male doctor who has lost his medical school diploma as a superior choice.

“Mindy, every one of the female candidates was far more qualified than that walking MRSA infection,” Dr. Jeremy Reed (Ed Weeks) points out with withering calm. “Let’s face it: You’re kind of a misogynist.”

A new doctor is hired ― Anna, a gorgeous, chilly blonde ― and Mindy immediately clashes with her new competition, noting in a burgeoning rage that her devoted fan Morgan has already begun sucking up to the new woman doctor. When Mindy misses an appointment, Anna takes her favorite patient; Mindy’s supposedly egalitarian male colleagues snicker over the “catfight” between the two. By the end of the episode, she realizes that she’s only jostling with Anna because the patriarchy has socialized her to do so.

“I was raised in a system, created by men, that has pitted women against each other,” she proclaims. (You could imagine this Mindy flaunting a brightly colored “The Future Is Female” T-shirt.) She decides to forge a consciously feminist but tenuous peace with the new doctor. It’s not a friendship, but a small, determined step toward smashing the patriarchy. In “Mindy Lahiri Is a Racist,” she goes one step further: Not only is cutting down other women selfish and wrong, she realizes, it’s painfully clear that taking the side of white men didn’t offer her the status she thought it might. All it accomplished was cutting her off from having a support system of other women like her.

Barinholtz told HuffPost that the show tries to avoid “coming off preachy” when incorporating more serious issues into storylines. “I think that’s kind of the death of a sitcom,” he said. But Mindy’s awakening isn’t always subtle. Sometimes, if not most of the time, there are monologues. Mindy’s speech apologizing for mistreating her female colleague is perhaps the least subtle approach to a pro-feminist monologue possible. “I was taught to believe that men can only handle one woman at a time,” she declares. “So it’s not my fault that I was threatened by Anna. It’s the fault of the patriarchy.”  

It’s impossible to miss and difficult to misconstrue the point the show is trying to make when Mindy delivers the moral; the humor comes mostly from hearing moral preaching from a character who is gleefully shallow, politically incorrect and often selfish. “The fact that she is on the wrong side of the issue is what’s surprising and kind of funny about her as a character,” said Fisher. “The moral is always correct, even if she has a hard time getting around to it.”

The essential flavor of the show has remained unchanged, despite its more serious bent. “I think the character is such a deeply ingrained creation of Mindy Kaling that it’s hard for her not to be consistent,” Fisher told HuffPost. “We all have absorbed that character in our bones at this point.” Season 5 of “The Mindy Project” opened with a typically flippant joke: The premiere episode dropped in the midst of election season, and was titled “Decision 2016.” It was about Mindy’s decision between two hot, white male love interests. The show barely touched the election, though other politically minded sitcoms did. Outside of the show, Barinholtz has suggested Mindy Lahiri might be a Trump voter ― and what about Morgan?

“I could see him getting very easily fleeced by Jill Stein,” he suggested. “I could see him writing in someone, writing in, like, Cesar Millan, the Dog Whisperer.”

After five seasons, “The Mindy Project” has never been more well-positioned to take on Trump-era politics. But how can the show make that funny? “Honestly… it’s just so sad,” said Barinholtz. “I think we had a joke last year where [Jody] was like, ‘And for the record, I think Donald Trump would be fun as president.’ That joke worked in like, October of 2016. In March or April of 2017, we’re seeing just how much has changed.” 

It’s not just the political context; the show has changed too. Perhaps making the Trump presidency funny in a sitcom universe is impossible, but “The Mindy Project” has a good shot.

Tina Fey, Alec Baldwin, Mahershala Ali, Amy Poehler and a whole host of other stars are teaming up for Stand for Rights: A Benefit for the ACLU. Join us at 7 p.m. Eastern on Friday, March 31 on Facebook Live. 

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Abigail Adams wanted her husband John Adams to “remember the ladies” when writing the Constitution of The United States. 

According to History.com, a 32-year-old Abigail wrote a letter to John dated March 31, 1776. Abigail wrote that she hoped Continental Congress would be more “favorable” to women than their ancestors had been.

“I long to hear that you have declared an independency,” Abigail wrote. “And, by the way, in the new code of laws which I suppose it will be necessary for you to make, I desire you would remember the ladies and be more generous and favorable to them than your ancestors. Do not put such unlimited power into the hands of the husbands.” 

The letter came just a few months before America’s independence from Britain in July 1776. Little did Abigail and her husband know, John was to become the second president of the United States in 1797. 

In possibly the best line of the letter, Abigail reminded John what happens when men get ahold of “unlimited power.” 

“Remember, all men would be tyrants if they could,” she wrote. “If particular care and attention is not paid to the ladies, we are determined to foment a rebellion, and will not hold ourselves bound by any laws in which we have no voice or representation.” 

She continued: 

That your Sex are Naturally Tyrannical is a Truth so thoroughly established as to admit of no dispute, but such of you as wish to be happy willingly give up the harsh title of Master for the more tender and endearing one of Friend. Why then, not put it out of the power of the vicious and the Lawless to use us with cruelty and indignity with impunity.

Men of Sense in all Ages abhor those customs which treat us only as the vassals of your Sex. Regard us then as Beings placed by providence under your protection and in immitation [sic] of the Supreem [sic] Being make use of that power only for our happiness.

Well, this is pretty much a perfect note to end Women’s History Month on.

Head over to The Massachusetts Historical Society to read the full letter. 

This Women’s History Month, remember that we have the power to make history every day. Follow along with HuffPost on Facebook, Twitter and Instagram in March using #WeMakeHerstory.

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One recent food video is making Asians simmer with anger. 

People across the internet are destroying a Time Out London video about soup dumplings from Dumplings Legend, a restaurant in the U.K. 

The video not only introduced the beloved Shanghai dish to viewers as if it were a new discovery ― poking and tearing them apart with chopsticks and incorrectly calling them “exploding dumplings” ― it also compared the act of eating them to popping pimples. 

Cringing yet? 

Well Asians everywhere certainly have been. And though the outlet issued somewhat of an apology, saying sorry “to anybody who was peeved” by the video, people continued to be vocal about how they felt regarding the outlet’s seriously flawed interpretation of the food. 

Angry soup dumpling aficionados spoke out through a variety of social media outlets and the Gothamist went so far as to call the video “heartbreaking.” Some criticized the horrific way the dumpling-eating method was demonstrated in the video as well as the outlet’s gross take on consuming the food. Others offered up helpful tips on how to really eat the delicacy.

But what some viewers took most issue with was actually the way the traditional food, that’s steeped in history, was presented ― as if it were “the next cool trend.” Though it briefly mentioned the Shanghai classic has roots back in the 1800s, social media users slammed the video for its “cavalier” explanation of the food and its lack of respect for the culture the dumplings come from. 

Unfortunately, the act of “introducing” something into the mainstream that’s actually existed in another culture for years has been repeated so many times, there’s a term for it: “Columbusing.” And witnessing pieces of culture get “columbused” is painful for people of color, NPR points out ― especially when there’s been no attempt to understand the historical complexities behind the dish, stripping it of its cultural significance. 

“When outsiders use tweezers to pick out the discrete parts of your culture that are worthy of their attention, it feels like a violation,” the outlet noted.

What’s more, these ethnic foods that are now framed as fashionable by white people were often “scorned” when made by the hands of immigrants, the Washington Post noted. 

“This is not just about westerners eating food ‘incorrectly,’” Facebook user Christina Chan echoed in a comment. “It’s also quite important as many traditional ethnic Asian foods were once considered “weird” or “gross,” until a mainstream (aka white) body decided that it wasn’t.”

Time Out London mentioned that going forward, they’d encourage “knowledgeable food-lovers of China and Asia” to offer up some food suggestions and the proper ways to eat the dishes. It’s a start, but commenters also mentioned how the outlet should probably look into hiring more diverse voices on top of that. 

In case you’re new to the soup dumplings, Gothamist has provided us all with a nice guide to eating the delicious treat. Trust us, none of these methods look like zit-popping. 

Now, can we have a moment of silence for all the soup dumplings whose lives were lost in vain during the making of that video? 

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A New Yorker cartoon by Emily Flake is giving life to grammar obsessives today, by illustrating just how consequential an Oxford comma can be. 

For anyone who doesn’t spend sleepless nights tossing and turning over the controversial punctuation mark, a brief explainer: the Oxford comma is the last comma in a list, that comes before the “and” or the “or.” Some think it’s necessary, others redundant, and many just don’t care. (What do you think?)

The lovely lady pictured below, however, seems pretty firmly in camp “necessary.”

Earlier this month, the contentious comma was the deciding factor in a $10 million lawsuit involving overtime pay for dairy farmers. When announcing his verdict, the Judge opened with: “For want of a comma, we have this case.”

Given recent events, a comma-induced divorce doesn’t sound entirely implausible. We just wonder who will get the dogs, House and Car. 

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René Pérez definitely has the hook-up for “Hamilton” tickets. 

The former vocalist for Calle 13, best known as Residente, hasn’t shied away from showing his love for his third cousin Lin-Manuel Miranda on Instagram. But there was a time when Pérez didn’t know he was related to the creator of “Hamilton” at all. 

The Puerto Rican artist appeared on “The Daily Show” Wednesday night to discuss his new album with host Trevor Noah. Towards the end of the interview, the host said he was shocked to find out Pérez and Miranda were cousins. 

Pérez then explained how he found out he was related to Miranda long after meeting him.

“I met him way before ‘Hamilton,’ when he was doing ‘In The Heights’ like nine years ago,” he said. “My grandma, she use to tell me all the time ‘Oh, you have your cousin in New York and you don’t know about him.’ And then when he started to write ‘In The Heights’ we met in Puerto Rico.”

That’s when Pérez says his mother saw Miranda’s face and revealed the two artists were actually family. Both of the artists were equally surprised. 

“It’s not every day you find out you’re related to one of the most famous rappers in the world,” Miranda told the New York Times in January. 

During his interview with Noah, the former Calle 13 frontman also recalled the moment Miranda first told him the idea of creating a musical based on the life of Alexander Hamilton.

And Pérez is certainly a fan of his third cousin, in the past he’s raved about Miranda’s rapping skills on Instagram.

“Here with my cousin Lin Manuel, the best rapper in the family,” he wrote in a caption on July 2016.

Greatness definitely runs in the family. 

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Dutch illustrator Liesbeth Ton knows the highs and lows of parenting all too well. The Los Angeles-based artist and mom has three kids, ages 10, 7 and 2, and often channels her day-to-day frustrations into quirky comics.

Her latest series, “Parenting Is ...” tackles the messes, exhaustion and total loss of privacy that come with raising kids. It also captures the simple moments of joy and indescribable love.

“I’ve been making parenting cartoons for a while and they were mostly about the struggles,” Ton told The Huffington Post. “I still like that subject, but I thought it would be nice to show more of the whole picture. My life got twice as hard and twice as much fun and meaningful since we had kids.”

For the illustrator, this series is all about seeing the beauty in the mess and exhaustion. “Parenting is hard and we’re all so busy that sometimes we forget to notice what we enjoy,” she said. “I hope to remind people of those little things that make parenting so worthwhile. Like watching them sleep, snotty cuddles and going on adventures in the back yard.”

Ton shares her comics on her website, Instagram, Facebook and Tapastic pages. She also sells postcards of her work online.

Keep scrolling to see her “Parenting Is ...” illustrations. 

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Remember when Beyoncé was vegan? This is pretty much the opposite of that. 

A London-based creative agency teamed up with a group of artists and designers to create Queen Bey’s likeness in cheese. We can’t decide if we want to eat this replica, aptly titled “Brie-Oncé,” or preserve it until the end of time.  

The sliceable sculpture is modeled after Beyoncé’s iconic pregnancy announcement in February. It’s made from about 45 pounds of cheddar cheese and took 28 hours to create. (And they say Rome wasn’t built in a day!)

Brie-Oncé, which was created for The Robin Collective by sculptors David Bradley and Jacqui Kelly, creative director Brandy Klingelpuss and designers Guy Roberts and Robin Fegen, will be on display at a wine and cheese festival in London this weekend.

“Hopefully she won’t lose her formation,” The Robin Collective’s Rosa Holmes told HuffPost. We’re melting. 

The delicious-looking statue is a genius combination of two universally loved entities, and we have to admit everyone involved did a ***flawless job. Beyoncé was always the G.O.A.T., but now she’s the G.O.A.T. cheese, too. 

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Sometimes a picture really does say it all ― at least when it comes to explaining anxiety to those who don’t understand it.

A stunning photo series by photographer Jasmine Kate Blanchard, a 19-year-old student from the U.K., showcases what having an anxiety disorder feels like to those who experience it. The visuals are a totally accurate depiction of the debilitating symptoms that can accompany the mental health condition.

“As someone who has dealt with anxiety myself, and also knowing many people who have also dealt with it, I wanted to bring this subject into the light and show people that even though you can’t necessarily see it, it’s there,” Blanchard told The Huffington Post.

Blanchard was 15 when she first started feeling the effects of the condition, and has channeled her diagnosis into her art. She decided to make anxiety the focus of a photo assignment for a class at Gloucestershire University in England, where she’s studying photography. The series features her friend, Emily Terrett, as the model.

“Everyone experiences anxiety differently, but I wanted to show the variety of symptoms and feelings through my photographs,” Blanchard said.

Those symptoms can include excessive worry, rumination, feeling panicked or like you’re losing grip on reality. They can also include poor sleep, which Blanchard highlights in her photos. An estimated 40 million Americans have an anxiety disorder. 

Blanchard hopes her project will eliminate some of the negative misconceptions surrounding anxiety and get people to talk about mental health more frequently. Research shows stigma often silences people with mental health issues and prevents them from seeking treatment.

“My advice for people who are dealing with anxiety is to talk to someone about it,” she said. “There is nothing worse than to keep those feelings bottled up.”

Take a look at Blanchard’s photo series, titled “Disquiet,” below:

H/T Women’s Health

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By now, you’re probably aware that Jordan Peele considers his movie “Get Out” to be a “social thriller” ― a genre he coined himself. 

The film has been both a box-office and critical success, earning over $150 million in ticket sales and settling at a 99 percent Fresh rating on Rotten Tomatoes (with only one negative review).

During a long media cycle for the movie, Jordan Peele appeared on numerous podcasts, including “Fresh Air” and “Nerdist,” and showed up in print publications, such as GQ and The New York Times. The Huffington Post suggested that “Get Out” is the type of movie the Oscars should pay attention to, and praised the ending as “a reason to go to the movies.”

If you’re reading this, you are probably, like us, already craving another great “social thriller” to watch ASAP. 

Although it may be a while before a new movie comes out, it’s already possible to discover an older film that may be brand new to you. During numerous interviews, Peele referenced “The Stepford Wives” as a good choice.

But in any case, it was a welcome surprise when streaming movie service Warner Archive reached out about a new curation by old Hollywood podcast host extraordinaire Karina Longworth, the creator of the popular “You Must Remember This.”

The curated list, which mostly focuses on movies from the mid-1900s, including “West Point” (1928), “Bombshell” (1933), “The Star” (1952) and “The Prince and the Showgirl” (1957), features a flick that might just interest “Get Out” fans.

Here’s Longworth talking to the Warner Archive about the 1942 movie “Cat People.”

I think the most essential film on the list is “Cat People.” It’s definitely something I would recommend for people who think they don’t like horror movies. It’s a masterclass in filmmaking with budgetary limitations, and its political allegory (critiquing the idea of American security as being synonymous with homogeneity, and the fear of the other) couldn’t be more timely. 

HuffPost sent a few follow-up questions Longworth’s way to get a further explanation of “Cat People” and its role in culture. Her responses are below.

You said “Cat People” is the most essential film on this list in your mind, due to its ability to create a successful political allegory on a low budget. Could you talk a bit more in length about the message the movie was trying to present and your understanding of how it was received?

Longworth: There’s a part in the “YMRT” episode I did on “Cat People’s” producer Val Lewton, in which Lewton is in a meeting at RKO and an executive says to him, “Remember, we don’t want any ‘messages’ in our movies.” Lewton responded, “Sorry, but my movies do have messages. The message is, death is good.” 

That deliberate antagonism of his bosses aside, all of Lewton’s films intentionally used the horror/thriller genre as an excuse to make movies about social and psychological life in the post-war world. In “Cat People,” Lewton depicts a cheerful, peace time America that equates a secure society with a homogenous one.

The “monster” is the foreign other who has infiltrated the American family by marrying a boring American man, and in a foreshadowing of the 1950s’ totally mixed-up ideas about women and sex, this exotic creature has to remain chaste in order to keep the monster locked up inside her.

If I had to explain what Lewton meant by the idea that his “message” is that “death is good,” I’d point to the fact that the harbinger of death in “Cat People” is also the film’s most sympathetic character, and is absolutely a victim of social circumstance. “Cat People” was a massive hit, probably because all of these ideas were subliminal rather than overt. 

Do you see parallels between “Cat People” and Jordan Peele’s recent stated goal to make social commentary horror (such as “Get Out”)? Do you think “Cat People” can be considered a urtext for that genre (if not necessarily for Peele specifically)?

I think the genre of horror (or, supernatural fiction) has been frequently used as a vehicle for social commentary and criticism. I wouldn’t call “Cat People” the single urtext, because it’s not part of the first or second wave of socially conscious supernatural films.

Certainly it is a classic, but it was actually probably more innovative in its visual style than in its social content. In terms of looking for other foundational films, prior to “Cat People,” a lot of the monster movies of the 1930s, including “King Kong” and “Frankenstein,” and two of my favorites, “Mad Love” and “The Walking Dead,” use the stories of monsters, and the idea of a porous line between life and death, to critique society.

If there is one single urtext, maybe it’s Mary Shelley’s “Frankenstein.” 

Watch the trailer for “Cat People” below.

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The ladies of Twitter never fail to brighten our days with their brilliant ― but succinct ― wisdom. Each week, HuffPost Women rounds up hilarious 140-character musings. For this week’s great tweets from women, scroll through the list below. Then visit our Funniest Tweets From Women page for our past collections.

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Reese Witherspoon and Laura Dern are on vacation together with their kids. (No, you’re screaming in ecstasy.) On Friday afternoon, they paused the wine-guzzling and beach-meandering to answer questions via Instagram livestream, ahead of Sunday’s “Big Little Lies” finale. 

One such question was, of course, whether there would be a second season of the HBO murder-mystery hit. The sound cut in and out while Witherspoon and Dern were answering, but we were able to make out enough of their responses to know that it’s being discussed. The actresses said it’s ultimately up to writer David E. Kelley, who would have to concoct follow-up storylines that depart from the Liane Moriarty novel on which the show is based.

But just let that sink in: There could very well be another “Big Little Lies” season. 

Once more, with feeling: There could very well be another “Big Little Lies” season. 

Dern was asked the same question during a “Watch What Happens Live” appearance last week, to which she gave a coy answer that hinted at a possible affirmative. 

Ratings have consistently climbed since the show’s Feb. 19 premiere. Across all of HBO’s platforms, “Big Little Lies” averages 7 million viewers, according to Deadline. That’s about half the eyeballs “Westworld” attracts, but more than most of the network’s comedies. 

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President Donald Trump, who has been publicly accused of sexual assault by more than 15 women and was caught on tape boasting he could grab women “by the pussy” without their consent, has officially proclaimed April 2017 to be National Sexual Assault Awareness and Prevention Month.  

In 2009, Barack Obama became the first president to officially proclaim April as Sexual Assault Awareness Month, although activists had recognized the month as a time to boost awareness of sexual violence for several decades. Since 2009, a proclamation has been released each year by the White House. But 2017 brings us the first year that a president who has been accused of committing sexual assault has issued such a proclamation.

“At the heart of our country is the emphatic belief that every person has unique and infinite value,” reads the beginning of Trump’s statement. “We dedicate each April to raising awareness about sexual abuse and recommitting ourselves to fighting it. Women, children, and men have inherent dignity that should never be violated.”

The statement goes on to affirm a commitment to reducing and ending sexual violence, calling on all Americans “to support survivors of sexual assault and work together to prevent these crimes in their communities.”

The Trump administration’s first Sexual Assault Awareness Month proclamation hits many of the same general notes that Obama’s statement did in 2016 ― with a few notable changes.

The 2017 proclamation removes any references to military sexual assault and adds a line on the importance of fighting “against the scourge of child pornography and its pernicious effects.” 

Most strikingly, the proclamation removes almost all references to rape culture, though Trump does acknowledge that “research has demonstrated the effectiveness of changing social norms that accept or allow indifference to sexual violence.”

In its first paragraph, Obama’s 2016 statement called on Americans to “stand up and speak out to change the culture that questions the actions of victims, rather than those of their attackers,” later “reaffirm[ing] our commitment to shift the attitudes that allow sexual assault to go unanswered and unpunished.” 

There are no such allusions to a culture of victim-blaming in Trump’s 2017 statement.

Trump is currently facing a defamation suit filed by former “Apprentice” contestant Summer Zervos, who has accused Trump of kissing and groping her without her consent in 2007, a year after she had appeared on his reality TV show.

Read Trump’s full proclamation below:

At the heart of our country is the emphatic belief that every person has unique and infinite value. We dedicate each April to raising awareness about sexual abuse and recommitting ourselves to fighting it. Women, children, and men have inherent dignity that should never be violated.

According to the Department of Justice, on average there are more than 300,000 instances of rape or other sexual assault that afflict our neighbors and loved ones every year. Behind these painful statistics are real people whose lives are profoundly affected, at times shattered, and who are invariably in need of our help, commitment, and protection.

As we recognize National Sexual Assault Awareness and Prevention Month, we are reminded that we all share the responsibility to reduce and ultimately end sexual violence. As a Nation, we must develop meaningful strategies to eliminate these crimes, including increasing awareness of the problem in our communities, creating systems that protect vulnerable groups, and sharing successful prevention strategies.

My Administration, including the Department of Justice and the Department of Health and Human Services, will do everything in its power to protect women, children, and men from sexual violence. This includes supporting victims, preventing future abuse, and prosecuting offenders to the full extent of the law. I have already directed the Attorney General to create a task force on crime reduction and public safety. This task force will develop strategies to reduce crime and propose new legislation to fill gaps in existing laws.

Prevention means reducing the prevalence of sexual violence on our streets, in our homes, and in our schools and institutions. Recent research has demonstrated the effectiveness of changing social norms that accept or allow indifference to sexual violence. This can be done by engaging young people to step in and provide peer leadership against condoning violence, and by mobilizing men and boys as allies in preventing sexual and relationship violence. Our families, schools, and communities must encourage respect for women and children, who are the vast majority of victims, and promote healthy personal relationships. We must never give up the fight against the scourge of child pornography and its pernicious effects on both direct victims and the broader culture. We recommit ourselves this month to establishing a culture of respect and appreciation for the dignity of every human being.

There is tremendous work to be done. Together, we can and must protect our loved ones, families, campuses, and communities from the devastating and pervasive effects of sexual assault. In the face of sexual violence, we must commit to providing meaningful support and services for victims and survivors in the United States and around the world.

NOW, THEREFORE, I, DONALD J. TRUMP, President of the United States of America, by virtue of the authority vested in me by the Constitution and the laws of the United States, do hereby proclaim April 2017 as National Sexual Assault Awareness and Prevention Month. I urge all Americans, families, law enforcement, health care providers, community and faith-based organizations, and private organizations to support survivors of sexual assault and work together to prevent these crimes in their communities.

IN WITNESS WHEREOF, I have hereunto set my hand this thirty-first day of March, in the year of our Lord two thousand seventeen, and of the Independence of the United States of America the two hundred and forty-first.

Need help? Visit RAINN’s National Sexual Assault Online Hotline or the National Sexual Violence Resource Center’s website.

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Tina Fey threw out one-liner after one-liner while co-hosting “Stand for Rights: A Benefit for the ACLU” on Friday night. 

She started out by poking fun at her status as a “stay-at-home actress” before tossing some burns Donald Trump’s way, notably claiming that the president gave up assaulting women for Lent.

“Earlier tonight, in what is surely an April Fools’ joke, the president proclaimed that next month will be National Sexual Assault Awareness and Prevention Month, so now we know what he gave up for Lent.”

Fey, who mentioned that she had “gay birds” on her shirt, also said, “The president and I have two things in common. One, neither of us has any business wearing khakis with a shirt tucked in, and two, we’re both very upset about the amount of fake news out in the world right now. So, don’t let any website tell you that the ACLU stands for Anti Christian Lesbian Underground. It’s the American Christian Lesbian Underground.”

But Trump wasn’t the only member of the administration to be Fey prey. She also made a jab at Vice President Mike Pence.

“Luckily, Mike Pence isn’t allowed to go down and shut Planned Parenthood unless his wife goes with him. So, if we can just keep Karen busy scrapbooking, we can all still get Pap smears.”

Lastly, we’ll end with this additional notable moment from Fey’s monologue:

“Did you know that women still only make one ‘Ghostbusters’ movie to every two made by men? And men average ‘Ocean’s Eleven’ for every ‘Ocean’s Eight’ that goes to women. That is simply unacceptable.”

All hail the Queen, Tina Fey.  

Ready to give? Text POWER to 20222 to donate $10 to the ACLU. The ACLU will call to explain other actions you can take to help. (Terms here.) You can also support “Stand for Rights: A Benefit for the ACLU” by heading to the ACLU website.

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Cecily Strong wants all women to know who they’re up against in the fight for equal pay. Apparently, it’s men like Colin Jost.

During Friday night’s “Stand for Rights: A Benefit for the ACLU,” Strong riffed on the gender pay gap, which isn’t really funny if you think about it.

“Women still make just 78 cents for every dollar earned by men,” the “Saturday Night Live” star reminded the audience, looking at Jost and adding, “For example, this man.”

“If current trends continue, women will not see equal pay for another 117 years,” Strong continued. “And by that point, currency will probably be something called Tinder bucks.”

Strong helped out during Friday’s telethon by chatting with people online in an effort to get them to donate to the American Civil Liberties Union. During her segment with Jost, she pointed out just how vulnerable women are in the workforce. 

“Women are legally protected from discrimination in the work place when they get pregnant. That’s simple, right?” she said. “Unfortunately, pregnancy can still put a women’s job at risk.”

She then introduced a short documentary about a pregnant delivery driver who was forced to take unpaid leave after her doctor advised her not to lift heavy items ― a requirement for her job.

“So men, give all you can,” Strong told viewers. “Women, give 78 percent of that.”

Ready to give? Text POWER to 20222 to donate $10 to the ACLU. The ACLU will call to explain other actions you can take to help. (Terms here.) You can also support “Stand for Rights: A Benefit for the ACLU” by heading to the ACLU website.

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