Chances are a visit to North Korea is not in your future plans. But photos of the country's shiny new airport give you a virtual glimpse at what some tourists experience when they arrive in the Hermit Kingdom.

Singaporean photographer Aram Pan, whose DPRK 360 project aims to capture panoramas of North Korean life, was the first passenger to clear customs when he arrived at the new Kalma International Airport as part of a special tourist group. On his website, Pan says the purpose of DPRK 360 is to "encourage understanding of the country and uncover the mysteries that lay hidden" without addressing sensitive political issues.

The new airport, located in the coastal Wonsan area, will start welcoming regional flights in November, with plans to go international soon after. The airport expects only about 2,000 passengers per day; for comparison, New York's JFK welcomed almost 146,000 passengers a day in 2014.

After having visited other small-scale airports, Pan says he was highly impressed by how modern North Korea's was. 

"It blew me away," Pan told HuffPost. "Everything was so well-made, you simply have to see it for yourself." Good thing he took photos.

If you're interested in seeing North Korea's airports for yourself, consider heading over on a state-sponsored tour.As long as you book the right way, North Korea will usually welcome you as a tourist:

Also on HuffPost:

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

Los Angeles' Getty Villa is a contemporary ode to the architecture and artwork of Ancient Greece, Rome and Etruria, modeled with striking allegiance to the original villas dating back to 650 B.C.

So the villa's outdoor theater is a fitting match for Luis Alfaro's "Mojada: A Medea In Los Angeles," a drama transposing Euripedes' tragedy from Ancient Greece to contemporary Boyle Heights. As the title -- a slur for an illegal immigrant -- suggests, the play follows a mother who has recently immigrated from Mexico to the United States. 

For the uninitiated, Medea, written approximately 2,446 years ago, tells the story of Medea, a sorceress who sacrificed everything -- including her homeland and her brother's life -- to protect her beloved, Jason, and nurture their two children.

When Jason in turn betrays Medea by choosing to wed the king's daughter for his personal benefit, Medea takes her revenge, poisoning Jason's soon-to-be-bride and murdering her children with a sword. In the final moment, after Jason encounters the carnage, Medea soars into the sky, above the orchestra, in a chariot led by dragons. 

It's a tale rife with desperation, sacrifice and moral ambiguity. It's also compellingly feminist -- especially for 431 B.C. -- in a "Kill Bill" type of way, with Medea rejecting her maternal instincts to seek the ultimate vengeance. 

Alfaro, who was awarded the MacArthur "Genius Grant" in 1997, adapts Medea's wildly tragic story to modern day feasibility with unsettling ease. Turns out, the fantastical trials of Greek mythology pale in comparison to the real life tribulations of Mexican immigrants.

Euripedes' plot seamlessly adjusts to follow a different Medea, a gifted seamstress who grew up on a traditional farm in Mexico with her twin brother, her other half. Medea is reserved, traditional, hardworking, loyal. Purely out of love for Hason, the father of her son, Medea agrees to move to the United States, enduring a horrific and traumatic journey in the hopes of creating better lives for them. 

While Medea holds on to the traditions of Mexico, Hason is quick to assimilate, his ambitious mind full of dreams and possibilities for their young son. Hason soon meets a woman who can make these dreams a reality, a slightly older woman, an immigrant now a business tycoon, eager to bring Hason to the top -- for a price. 

Like her namesake, Medea's fate is a tragic one. And within Alfaro's 90-minute play, he relays her plight with such truthfulness and horror that her final violent resolution seems pardonable, if not warranted. 

"It's a bold statement and a controversial story about what people will do to make their life better," Sabina Zuniga Varela, who plays Medea, explained to the LA Times. "When have we sacrificed our personal beliefs [to get ahead]? When have we gone too far? It'll be interesting to see what [audiences] are going to take away. It depends a lot on the lens they come in with."

Throughout Alfaro's adaptation, each of the primary characters battles with desperation, sacrifice and pride, all in turn making controversial yet somewhat understandable decisions for the sake of survival. The extreme hardships of immigration and assimilation, combined with a bit of Mexican healing magic, perfectly channel the atmosphere of Ancient Greece's mythically-infused tragedy.

Aside from Hason, women rule the "Mojada" stage. Aside from Medea herself, there's her housekeeper Tita, a healer and adopted family member utterly devoted to Medea since childhood. And Armida, the powerful real estate magnate who's questionable choices successfully allowed for her sustenance and triumph. The three female characters are each flawed yet complex, independent and, in some cases, dangerous. 

In the end, it's difficult for viewers to adhere to their moral compasses and not commiserate with Medea's deadly decision. The oppression faced by both Mexican immigrants and women is difficult to stomach, with Medea bearing the brunt of both. On two counts, she's treated as invisible. 

"I killed the other me," Medea confesses in the play's penultimate scene, recalling how she murdered her twin brother years ago, after her father bequeathed the entirety of their land to him, and Medea was thereby treated like no more than cattle. With the same weapon, she continues to cut ties, eliminating her dependence on men and her identities as lover, mother. 

Whether or not you feel for Medea as she disappears, machete in hand, into her house to the sounds of her screaming son, it's nearly impossible not to get goosebumps as she emerges, in the play's final moments, soaring above the set, flapping her wings, whooping like a bird, haunting and free. 

"Mojada: A Medea In Los Angeles," written by Luis Alfaro and directed by Jessica Kubzansky, runs until Oct. 3, 2015 at the Getty Villa in Los Angeles. Tickets are now available. 

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

A chubby kid sits on an office chair strumming a banjo. Based on the zebra-print blanket and unadorned walls behind him, he’s probably in a guest room of a family home. It’s unclear when he last brushed his hair.

“The Super Bowl is gay,” he sings, totally deadpan. “Super Bowl, Super Bowl, Super Bowl is gay.” 

These are among the most complex lyrics of the song that follows, in which a variety of things -- including the Raiders and also water -- are declared “gay.”

“We thought [the] video was hilarious,” Jonathan Kimmel told The Huffington Post over the phone, recalling the absurd clip. “That’s before we knew we shouldn’t be saying those things, of course,” he added, now with mock sternness in his voice.

Another thing he didn’t know -- that Jonathan and his brother Jimmy Kimmel didn’t figure out until they managed to track that chubby kid down -- is that he wasn’t just a kid.

“I thought he was a child when I first saw him online,” Jimmy said. “When we contacted him, we were very surprised to find out he wasn’t.”

Andy Milonakis, now 39, was 26 at the time. He was working in IT, using his knowledge of computers to upload videos to a comedy website called Angry Naked Pat. He was also being charged massive overages for all the traffic his clips were getting because, well, that’s how the Internet worked in 2003.

If you were ever to call Andy Milonakis’ cell phone, you’d be transported back to the early aughts, thanks not only to the nostalgia of hearing his youthful voice but the reggae ringback tone that plays before he picks up.

“I guess ringback tones aren’t a thing anymore,” he explained. “I just really like reggae.”

Like the theme song that opened “The Andy Milonakis Show,” it’s a helpful introduction to what follows, a way to ease into the fact that Milonakis does what he likes and doesn’t really give a crap what you think either way.

He’s a comedian, so, of course, he enjoys getting an audience to react. But working for the crowd has never been what drove him as an entertainer. To be totally honest, he always saw all the wacky shit he was filming as just that.

“I never thought of it as a means to make money or get any kind of success, because that never happened on the Internet,” Milonakis said. “I just thought of it as a fun outlet, something that seemed cool at the time.”

That would sound like a line, if YouTube even existed in 2003. User-generated content had only begun to emerge. “The Super Bowl Is Gay” was one of the first viral videos. It was arguably the first viral video to land its creator a TV show.

“It was pioneering in that it was the first show ever born from the Internet,” said Daniel Kellison, a producer on “The Andy Milonakis Show” and Jimmy’s partner at Jackhole Industries (now Jackhole Productions).

"It's crazy, considering the fact that most people still think he’s a teenager," Jonathan added. "He’s like the grandfather of all these kid Youtube stars."

Once Jimmy found Milonakis, he secured releases for more of his videos and recruited him to do correspondence pieces on “Jimmy Kimmel Live!” Milonakis moved to Los Angeles to keep working for the show and Jimmy tried to add him to the roster as an announcer, but ABC balked.

“Andy was much too weird for their liking,” he said. “And the writers didn’t know what to make of him either.”

It's crazy, considering the fact that most people still think he’s a teenager. He’s like the grandfather of all these kid Youtube stars.
Jonathan Kimmel

Half guilty for talking Milonakis out of Queens and half knowing his humor had the potential for something bigger, Jimmy tried to figure out a way to turn his proto-YouTube star’s intriguing weirdness into a show. He reached out to MTV, where he knew an executive named Tony DiSanto, and pitched him the idea.

Miloankis’ videos might appear simplistic, but, as Kellison put it, “It’s not easy to be that simplistically funny.”

“There’s something about Andy that’s so appealing,” said Rob Anderson, a co-producer on “The Andy Milonakis Show” (and Kellison’s half-brother). “It’s his free associative ability, his willingness to be genuinely strange in a way that most people can’t pull off.”

Understanding that deceptive brilliance, Jimmy approached DiSanto. “The idea for Andy's show was you didn’t know it would be imaginary or not,” Jimmy said. “You didn’t know if the show existed in what appeared to be a child’s imagination or if it was real.”

Given Jimmy’s blessing, MTV bought the show and gave Milonakis and his team a form of carte blanche that is rare for network television. (See: The pilot, which begins with Milonakis eating chicken fingers from a massive, chicken-head Pez dispenser.)

“It was such a wonderful confluence of events that led to this. Jimmy finding Andy, Andy finding MTV,” Anderson said. “You know, there’s an assurance, that Jimmy Kimmel is there and he’s going to take care of everything. That’s a lot of why it worked.”

Along with director Tom Stern, Jonathan Kimmel and Milonakis, Anderson set up the concept for the show. Their goal was to take Milonakis’ “lunacy” and smooth it out into a cohesive universe. Together, they set up a low-fi aesthetic with simplistic R. Crumb-style framing and an outerglow of the imaginary. Inspired by Paul Reubens’ Pee-wee, they created a world which allowed for a brand of absurdity that toed the line between seeming like reality and a child’s games of make-believe.

The key to that homemade aesthetic -- to the show in its entirety, really -- was renting an apartment on the Lower East Side. Stern and Anderson wanted to replicate Milonakis’ early video-making set up. He grew up in Queens, which wasn’t ideal for shooting purposes, so they scouted places that seemed like family homes in the city. The spot they eventually found on Grand Street was perfect, mostly for what lay outside.

The idea for Andy's show was you didn’t know would be imaginary or not. You didn’t know if the show existed in what appeared to be a child’s imagination or if it was real.
Jimmy Kimmel

The cast was handpicked from the surrounding neighborhood. Recruiting sessions consisted of PAs hunting the streets with a camera to find the likes of Andy’s sidekick Ralphie. There was also the constant curveball searching for a new lineup of characters for each episode’s man-on-the-street bits -- an effort that would often require 10 hours of shooting for minutes of footage and even, according to Jonathan, incurred an attempted investigative piece by a New York paper accusing them of “harassing" residents.

As Milonakis and his crew remember it, though, the community loved them.

“It was like we were celebrities when we would go out on the street,” Stern said. “People were excited to see us.”

“We basically had a sketch show where most of the members of the troupe were over the age of 65,” Jonathan added, mentioning that he and the rest of the crew were like a surrogate family for the older woman who played Rivka.

Milonakis always had a passion for that wild card humor, and the Lower East Side proved the ideal environment for his antics. “The Andy Milonakis Show” featured celebrity guest stars ranging from Fergie to John Stamos, though Milonakis loved working with strangers the most.

“There’s something really awesome about that performance,” he said. “You can’t force it. With actors it’s awkward, it’s different than just some dude from the neighborhood.”

The randomness of the street segments was true to the tone of the show as a whole. (Though perhaps that doesn’t need to be said, since it had a reccuring character who was a piece of bologna.)

“The way it was structured was to not be structured as much as humanly possible,” Jonathan said. 

For each episode, a team of writers would pitch hundreds of sketch ideas built around the idea of Andy’s persona. From there, Anderson and Stern would consult MTV. The final product usually came from Milonakis working within that skeleton of approved skits, though most often he was given a loose framework, rather than dialogue, with most of the lines being improvised.

I've worked a lot of jobs in my life ... and this is, hands down, the hardest I have ever worked in my life.
Andy Milonakis

Even though the goal was to produce something that looked like videos made by a kid, the reality was this was a grown-man with a team of people behind him. It was all much harder than it looked. Writing and appearing in bits was exhausting. (OK, fine, that and, Milonakis admitted, maybe also all the partying he did at the end of the day.)

For a while Kellison actually had Milonakis sleep in the Lower East Side apartment to save money. Jonathan remembered banging on the door one morning for over an hour before he and the crew could get their leading man awake.

“Note that I’m laughing while I say this!” Jonathan clarified. “But, yeah, he’s a sleeper.”

When the show came to an end in its third season, after losing steam with the move to MTV 2 and a new set in LA, Milonakis was ready to be done.

“It was definitely bittersweet,” he said. “But after three years I was kind of beat down. I’ve had a lot of jobs in my life, I’ve worked at Blockbuster Video, I’ve worked at Kinko’s, I’ve worked at an air conditioning place, I worked at fucking General Electric. I’ve had so many jobs, pumping gas, busboy, and this is, hands down, [was] the hardest I have ever worked in my life.”

It’s interesting to consider what kind of reactions “The Andy Milonakis Show” might have encountered if he didn’t look like a 14-year-old. Certainly, the food-smashing bits would have been a bit harder to digest. Less tiny old people would have interacted with him on the street.

“I think it’s really one of the great disguises,” Jimmy said, reflecting on Milonakis’ appearance. “Nature gave him the best possible comedy disguise and I think people respond differently because of that.”

The show’s tone hung on the notion that Milonakis was a child. His age wasn’t necessarily kept secret, but Jimmy found an air of mystery to be appealing. He convinced Milonakis not to do studio interviews to maintain a certain enigma within “The Andy Milonakis Show” universe.

The goal was to allow the mystery to perpetuate the idea that Milonakis was as young as he looked. Jonathan, Stern and Anderson committed to that concept by keeping things clean. They tossed in the occasional curse word, but never moved into the blue, preserving the innocence they had built.

“I think one year we even won an award in Christian Excellence or something like that,” Kellison snorted. “That wasn’t our intention, but it was very true to the show.”  And much of that is what allowed MTV to give Milonakis and his team the okay on some of the zanier sketches.

“On a lot of other shows, you have a fight with the standards and practice people because you want to go dirtier or show more,” Anderson said. “In this situation those constraints were ours. It worked, because the point was to play into some ambiguity of the childlike nature of the whole thing.” 

More than a decade after becoming a public figure, Milonakis takes a similar stance to talking about his hormone condition.

It’s an item of interest the Internet has dedicated entire message boards to solving. Each of Milonakis’ videos, new and old, are met with a constant stream of comments about his age. A Milonakis truther tweets approximately every 45 minutes.

“I don’t talk about that,” he said, firmly at first, then softening a bit. “It’s weird. It’s just another thing for people to talk about and I like keeping that low-key. Let them keep guessing, you know?”

Considering Milonakis' current visibility, he deals with a lot of nonsense on the Internet. He usually laughs it off or responds with a joke, but he's still human, and sometimes it gets to him.

"People can be really mean," he said. "Have you ever met someone who was a successful, happy person that sits and writes shitty things to people on YouTube? I know a lot of people say stuff like that just to deflect negativity, but that’s an honest question that I ask myself."

“I think it’s really one of the great disguises. Nature gave him the best possible comedy disguise and I think people respond differently because of that.”
Jimmy Kimmel

These days Milonakis is doing a lot of anything and everything. For a while, he had a music group called Three Loco. He made a video with Chief Keef. He did a travel video series. A cooking series. He was recently on "The Kroll Show." Now, he’s deciding what to focus his energy on next.

On some level, it may seem like he’s reverted to the lower echelons of the Internet legend-building he started. But being less famous doesn’t make him a failure.

We have this way of talking about celebrities, like all they want is to be the most famous they could possibly be. Like there are no other options. Milonakis is objectively less relevant now than he was circa 2006. That doesn’t change the magic of his chubby kid Cinderella story. Being plucked from his day job by one of the biggest names in late night and building a television show out of some silly videos he made for fun is amazing even though it’s since, sort of, come to an end.

Ten years after the show aired, the way everyone Milonakis worked with talks about him is reflective of his brilliance as something that endures.

“He’s just such an original voice,” said one writer, Aaron Blitzstein. “Andy is 100 percent Andy, and that doesn’t happen anymore with people in comedy.”

“It’s such a total pleasure to work with someone with Andy’s sensibility,” Anderson said. “He’s he’s such a wonderful, genuinely eccentric, interesting guy.”

Even Kellison, who came across a bit flippant (read: Hollywood-producer-y) on the phone, donned an air of respect before hanging up. “I’ll tell you one more thing,” he said, growing stern. “The secret to Andy, and to anyone who succeeded in our world, is that he’s supremely talented.”

I’m not trying to appeal to anyone. I just get a kick out of pushing my weirdness to the limits.
Andy Milonakis

There’s a lasting impact to Milonakis’ humor and the surrealist whimsy he dove head first into back in 2003. There are so many deliberately bizarre programs and comedians now. It’s the model upon which the entirety of Adult Swim is based. But in so many of those new shows, and with so many of those new performers, you can see the strings. There’s a clear strain in mounting to a level of absurdity that just comes naturally to Milonakis.

“A lot of comedians try not to give a fuck, but they really do,” he said. “I’m not trying to appeal to anyone. I just get a kick out of pushing my weirdness to the limits.”

It’s there throughout our phone call, a sense of humor in his tone that is wacky, silly, kind and innocent all at once. This piece started after I tweeted at him a few weeks ago. Before I spoke to the Kimmels and the rest of the crew, there was a 50-minute conversation which came after he wrote something about "fapping" to the "The View."

I replied, asking for an interview, thinking, "Wow, what the hell happened to Andy Milonakis?" 

A few minutes into our conversation, I felt guilty for ever wondering, but the answer is this: he's still a sweet guy, living his life and doing weird shit with no more motivation than making himself laugh.

Also on HuffPost:

For a constant stream of entertainment news and discussion, follow HuffPost Entertainment on Viber.

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

Halloween is right around the corner, which means it’s the perfect time to dress up, bob for apples -- and totally smash the patriarchy. Whether you want to channel an icon like Rosie the Riveter or get a little more creative (cats against catcalls, anyone?), the feminist costume options are endless.

For those of you wanting to put your feminism on display this Halloween, here are 18 costumes that will send your girl power message loud and clear.

Need more costume ideas? We've got you covered. Head over here and here.

Check out other awesome Halloween costumes below: 

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

Oh, the wonders of Photoshop. You never know what's real and what's not.  

Photo manipulation is widely used in magazines and advertisements to make a product look more appealing for potential customers. The end result is often so realistic that you'd never guess what the original shot looked like. However, retouching techniques have also come under fire from medical associations and public figures for setting unrealistic (and dangerous) standards of beauty, especially for young girls. 

Ashot Gevorkyan is a photographer and retoucher based in Kaliningrad, Russia. Because of his profession, Gevorkyan is no stranger to photo-manipulation, and he's created a series of animated pictures that show how his images transform during production.

Quite simply, the results are mind-blowing. In one case, a simple studio shot in a dark garage is morphed into a sunny outdoor scene; in another, Gevorkyan took a picture of a young woman sitting on a rock by the sea and transformed her into a glorious mermaid. (You can check out more of Gevorkyan's work here.)

The takeaway? Always view commercial images or magazine covers with a grain of salt.

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

When you think "family heirloom," it's natural to think of Grandpa's pocket watch or Grandma's engagement ring, but what about Uncle Jim's Bugs Bunny tattoo?

Sure, it was once on ole-Jim's calf, but now it can be framed, mounted and proudly displayed above your fireplace, for when you remember him on Christmas Eve. 

NAPSA -- the National Association for the Preservation of Skin Art -- launched earlier this month with the aim of helping you pass down your tattoos to your kids, grandkids, and  loved ones. It's no longer a morbid dream. You can have your tattoos removed, preserved and turned into fine art.

NAPSA prides itself on "saving your legacy" and caters to those who "don't want to be defined by others," according to its website.

In a nine-step guide for how to preserve your skin, potential derma-bequeathers are advised to make a profile on the NAPSA site. Essentially, they ask that you write up a tattoo will.

After that, NAPSA recommends you tell everyone your plans for your posthumous skin removal so that, when you die, your loved ones won't be totally horrified that you're leaving them your skin. 

Then, when you die, your "Final Wish Beneficiary" has to give NAPSA notice within 18 hours. NAPSA will send over a "preservation kit, containing instructions and all the necessary equipment to recover, temporarily preserve, and safely ship your tattoo to NAPSA, mailed overnight to the recovery provider (In most cases, your funeral home)."

Once NAPSA receives your tat, your family can expect to receive your beautiful, non-decaying piece of skin in an ornate frame three to six months later. 

Having just launched on Sept. 18, we were curious what the sign-up rate is looking like and if anyone's ordered a preservation kit just yet. 

"We have not had anyone pass away yet and we have had several people sign up since launching," NAPSA PR rep Michelle Venorsky told HuffPost in an email.

So, if you've grown to love your aunt's drunken mistake of a doughnut tattoo and you don't want it to disappear as her body decays underground, have her sign up for NAPSA! Let her legacy live on and get yourself a piece of wall art in the process.

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

This is not your average cakewalk.

Suspended a jaw-dropping 590 feet in the air, the glass walkway named Haohan Qiao, or Brave Man's Bridge, recently opened in China's central Hunan Province. There's no other way to put it: the bridge looks absolutely frightening.

Roughly 1,000 feet long, the bridge in Shiniuzhai National Geological Park has a double-layer floor that's made from glass 25 times stronger than normal. According to CNN, the bridge was originally made of wood, but the park started experimenting with adding glass in 2014. The bridge has just been fully converted to glass, supported by a strong steel frame.

Brave Man's Bridge is currently the longest glass-bottom suspension bridge in the world. Even more frightening, the structure apparently sways in the wind, says the South China Morning Post. We're getting butterflies already.

Earlier this year, plans were announced for another glass-bottom bridge in China in Hunan's Zhangjiajie Grand Canyon area. When opened, the structure will take the title as the world's longest and highest glass-bottom bridge. Visitors who brave the attraction will get to experience what will reportedly be the world's highest bungee jump -- if they dare. 

Judging from the expressions worn by those crossing Brave Man's Bridge in the photos below, we might just watch from here. 

Also on HuffPost: 

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

A photographer is illustrating body love and feminist sisterhood by photographing pole dancers. 

Photographer Sylvia Eng always loved to dance, but found that many types of dance privileged a smaller body type that she simply would never be able to obtain. Then she discovered pole dancing classes. 

The Toronto native instantly fell in love with pole dancing and the women involved in the classes.

"I have always found it really fascinating that a dance form that seems to have such a bad reputation for objectifying women was the place I found a sisterhood of strong feminists, and such amazing body image messages," she told The Huffington Post.

To highlight this strong sisterhood of badass feminists, Eng asked her friends and teachers from the dance studio to pole dance underwater in order to capture the "beauty, sexiness and the diversity of the girls in our sisterhood."

The results are dreamy and totally stunning. 

Eng said she was inspired to do the underwater pole dance shoot after she saw another photographer she admired do something similar. 

"I had two goals for my session, I wanted to feature my friends and show the many sides of pole dance," Eng said. "I also wanted to give them -- each of them an inspiration to me, each of them my little muses in a way -- this gift back for all they have given me."

She described pole dance as an empowering hobby that created a safe space for women to leave their body issues outside the studio. "I was shocked to realize that we never criticize or complain about our bodies," Eng wrote in an August 2015 blog post. "We often idolize a trick another girl can do or lovingly tell her that her ass is to die for, but we never, ever verbalize a wish to have a different body. We never wish to be something we are not, we only ever wish to be stronger."

Scroll below to see more of Eng's gorgeous photographs:

Head over to Eng's website to see more of her work. 

Also on HuffPost:

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

Black kids and their hair are beautiful, magical and carefree -- and one new photo series powerfully reiterates that message.  

U.K.-based photographer Emily Stein developed a photo series titled "Hairdo," which features photos of black children from London in playful poses with their beautiful bantu knots, twists, and zig-zag tapered fades. In each image, the child's picture shines with his or her own charismatic expression and unique hairstyle. 

Given how often black children are treated unfairly because of their hair or even punished for it, the series offers a reminder that hair can be a source of joy and self-expression, for kids and grownups alike.

Stein allowed the kids to choose their own poses, so their images would truly represent their individual identities. "I wanted the photographs to have their own stamp on them, whether they were yawning, hiding or pouting," Stein told The Huffington Post. 

The children in Stein's photographs reveal how hair can emote joy, and "be a celebration of both style and individuality," Stein said. Ultimately, she said she hopes these images will leave viewers with a powerful message:  "I would [want] people who look at the series [to] feel the positive energy of youth and the spirit of undiluted individuality," Stein said."

Check out the awesome images below: 

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

Around Halloween, harmful gender stereotypes tend to run rampant. 

Looking at the aisles of costume stores, boys may feel like they're only supposed to dress up monsters or superheroes for Halloween. But as the moms and dads of sons in the HuffPost Parents Facebook community show, little boys have wild imaginations that go beyond Batman. Some boys choose to dress up as surgeons or animals, while others may want to be TV or movie characters.

Here are 31 creative costumes from HuffPost readers' sons -- ranging from pirate to Oompa Loompa to Princess Elsa. Because after all, boys like "Frozen," too.

See more Halloween costumes ideas for babies, expectant moms, couples, and more. 

Have a costume you want to share? Send a photo to HPPHalloween@huffingtonpost.com and you may be in an upcoming feature.

Also on HuffPost:

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

Mom, law professor and artist Stacey Steinberg wants to use photography to make a difference in the devastating world of pediatric cancer.

Through her business, she offers free photography sessions to families whose children receive cancer treatments at the University of Florida Shands Children's Hospital. "These families are beautiful," Steinberg told The Huffington Post. "Despite the pain in these children's lives, there is so much beauty surrounding their everyday lives, including their treatment and care. " 

Steinberg said that many of the families she's photographed "really want their children to be seen, for their stories to be heard," but she added that the main reason she offers these sessions is for the kids themselves. "I want to offer the children an opportunity to have these photos to look back on and gain strength from as they heal."

Though the photos are very personal, a lot of Steinberg's subjects choose to share their images to help raise awareness around childhood cancer. "For many of these families, my photographs show happiness -- be it the end of treatment, or capture a stage in the treatment that helped a child through the healing process," she said, adding, "These families share their stories because there is still so much work to be done in the fight against childhood cancer."

In addition to raising awareness, the photographer says many parents want to share their photos and stories to provide support and information to other families whose lives have been touched by childhood cancer. And, she added, they can help people who haven't faced the disease connect with those going through this struggle.

"Seeing these families, becoming a part of their world, is a powerful experience," Steinberg said. "It humbles me and it makes me appreciate every smile and find beauty in even the smallest things."

As Childhood Cancer Awareness Month comes to a close, here are 32 photos of amazing kids putting up one heck of a fight.

Also on HuffPost:

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

When the "Serial" craze first got going last fall, one of the things you would hear from  listeners trying to get you on board was that the podcast was as compelling as a TV show. And it was true: once you started listening, the thirst for new installments rivaled the thirst for new episodes of great shows like "The Good Wife" and "Game of Thrones."

Looks like Hollywood (being Hollywood) isn't willing to cede such compulsiveness to public radio. Deadline reported today that Phil Lord and Christopher Miller -- the writing-and-directing duo behind comedic hits like "The Lego Movie" and "21 Jump Street" -- are adapting "Serial" into a scripted TV series. Several of the podcast's producers, including Season 1 host Sarah Koenig, "This American Life" host Ira Glass and "Serial" co-producer Julie Snyder, will be executive producers on the show. 

"Chris and Phil take an unexpected approach to telling stories and that is so appealing to us at 'Serial,'" Snyder said in a statement. "Developing a show with them is exciting because we feel like we speak the same language, only they’re smarter than us."

There were rumors, for a while, that producers might adapt the content of "Serial" Season 1 -- the murder of teenager Hae-Min Lee and the subsequent dubious conviction of her ex-boyfriend Adnan Syed -- into a movie. But Lord and Miller's show will take a different tack. It will focus, instead, on the making of the podcast. And it apparently won't be about the original podcast's first season. It's not yet clear whether it will be based on some upcoming season -- such as the upcoming one, reportedly on ex-POW Bowe Bergdahl -- or a fictional season of their own devising.

A show about a group of podcast producers doesn't sound all that exciting on the face of it. But Lord and Miller specialize in adapting unpromising material -- schlocky '80s TV shows, plotless children's books, blocks -- into thrilling narratives. So if anyone can do it, it's them.

Also on HuffPost:

For a constant stream of entertainment news and discussion, follow HuffPost Entertainment on Viber.

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

"I was interested in how, as a culture, we weren’t used to looking at two men touching," Sohier explained in a statement about the project, "and was struck by the visual novelty yet total ordinariness of these same-sex relationships. The visual ambiguity of same-sex relationships also intrigued me: were these sisters or friends or lovers or a mother and daughter?"

Sohier began her project by enlisting friends, and friends of friends, to serve as her subjects. After that, she began putting ads in gay newspapers and meeting couples at gay bars and protests. "It was the beginning of a turning point, and more and more gay and lesbian couples wanted to be seen, wanted their relationships to be recognized and valued."

"I see all of my photographs as collaborative, and these were no exception," Sohier explained to The Huffington Post. "I always ask permission, so there’s no way the pictures can be totally candid; people are aware of my presence and initially a bit self-conscious.

"However, since I spent three to four hours interviewing, talking to, and photographing couples, they would usually relax a bit as the session went on and it was then easier to capture more natural expressions and moments. If occasionally I wasn’t fast enough and I missed an interaction I liked, I might say, 'Can you do that again?' That doesn’t always work, but sometimes it does or something even more interesting emerges."

Along with the images, Sohier conducted extensive interviews with most of the couples she photographed. Some comments reaffirm the sentiments conveyed by a photo, others contrast them. The text and images are placed alongside each other in Sohier's book "At Home with Themselves," reflecting the fears, apprehensions and misconceptions of the 1980s.

The photographic endeavor was also prompted, in part, by Sohier's father, who was gay, although he never explicitly came out. The book is dedicated to him and his partner Lee. 

Almost 30 years after she started her project, Sohier is moved by the different world represented in her work. "The work now has an added historical perspective that in some ways makes it even more interesting," she said. "It shows how profoundly things have changed for the gay and lesbian community in the U.S. Recently, these pictures were shown at the Myanmar Photo Festival and also in Krakow, Poland -- places where the concept of open gay relationships is still relatively new, and where the impact of the photos is closer to what it was in the U.S. in the 1980s."

See Sohier's photos and read excerpts from the love stories that accompanied them below:

Also on HuffPost:

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

Ondi Timoner, known for her documentaries "Dig!" and "We Live in Public," has chosen a new subject: Russell Brand. "Brand: A Second Coming" follows Russell while he begins his stand-up tour, Messiah Complex, only to put that on the backburner to instead try to rally the world to revolution. Thankfully, this isn't your stock stand-up tour movie that simply beats out bits with clips of the comedian doing press, getting "real" in his hotel room, and talking about how hard it is being funny. It's an honest-to-god look at Russell Brand and why he is the way he is. It also challenges viewers to look at the world around them and question what it means to have a fulfilling life: You see Brand achieve everything our society tells us should make us happy -- fame, money -- only to be immensely disappointed when he gets it.

I sat down with writer, director and producer Timoner to talk about Russell and the difficulty of documenting him.

I watched your TED talk and I gathered that your focus is on people who had to give up a lot to have a fulfilling life. Is that correct?

Yes, it’s kind of twofold. There are people who have to give up a lot to have their lives matter. And then there are impossible visionaries. They inspire people to step into the impossible and have their lives matter. Which is something regular life does not provide us an opportunity to do. In terms of, “What am I doing with my time on earth? Is it fulfilling? Is it creative? Is it adding to the universe? And to society in general?” We’ve been taught to want other things.

Yes, it feels good to be told to do something and then to do that and be told you’re a good boy. I can see how people would get addicted to that!

(Laughs) Yeah, you get praised for drawing inside the lines, don’t you?

Oh, yeah. Do you think you focus on these people because you find yourself to be that person?

I might have become that. I mean, Russell calls me his "ginger ninja shadow." I might have always been that and maybe that’s why these people are drawn to me. Maybe that’s why I’m drawn to them. I don’t know if I’m a visionary. That’s a bit out of the realm of humility to say. To admit to you that I think I’m a visionary, you know? I’m pretty tenacious. What I took on when I took on the project was really difficult. You know, making a film about Russell brand is not easy. It’s like taming a Tasmanian devil. He doesn’t really like to be documented. He likes to perform. And he’s a very private person.

Oh, really?

Yeah! But he asked me to make this film really hardcore. And when we agreed to do it together, we agreed it would be about him and I would have creative control. Once he agreed, he tried to control everything else in a way. Whether it was dashing the itinerary or negotiating how many times I could be in the car. Or whatever it was. He’s so jaded. He doesn’t want his life to become the subject of another tabloid piece. He doesn’t really want everyday to feel like he’s living for the camera. At the same time, he asked me to make this film. And he cares about what it is that he’s doing. He cares to have that documented. So it’s that tug of war all the time where he would ask me to leave the car. And then I’d get called 5 minutes later to get back in the car. But I love the guy, let’s be clear. 

 Do you think the time in the car was rehearsed or was it genuine private time?

No, I got private time. To the point where his manager was like, “I can’t stand to be around the two of you in the same vortex for any length of time.” 'Cause I would get under his skin. I think on an intellectual level, he’s a genius. And I would just give it my all to rise to his level and go toe-to-toe with him. Because you don’t get anywhere with people if you just praise them. There are many sides to a human being and I love the gray area. I don’t want to make just a straight hero of someone because it’s not true. He’s somebody who has walls around him. At the same time, he’s the most open guy on earth. 

Where does the Russell story end? Does he have to give up anything else?

It’s so hard to say with a man that unpredictable. To see him start Trews and then this hockey-stick rise of attention. Then he walks away from that. I went back to document him as he was writing a book, and we didn’t even know he was going to write a book! And alongside the books came all these social movements and the opening the Trews café. He’ll always do stand-up. It’s where he lives, spiritually. Is he going to give up everything the western world has to offer? I don’t see that happening. But then again, I would’ve never predicted he would leave Hollywood.

Like [in the film] when he sits in that hut in Kenya and says to that woman, “As a white millionaire, I’m uncomfortable.” People don’t say that. They think that, but they don’t say it. A lot of times he puts his foot in his mouth but a lot of the time he says things that are just so true. And he does things that people aren’t willing to do. That’s why I loved making a movie about him. I hope people take this as a second coming for themselves. I hope it will inspire some people to go home and think, “What am I doing?”

Now, will he become a politician? I don’t know. But I don’t think he thinks commentary is enough. We had a debate about this. And he doesn’t think being an artist is enough to change the world in a significant way.

So does he think he’s a messiah?

I don’t know what he thinks because I’m not Russell. I don’t know. He has a self-destructive element of his genius. It’s like some ying-yang balancing of the universe. And when he looks in the mirror he isn’t seeing it accurately like the rest of us. I don’t think he can see what we see. And I think he has a lot of self-criticism. And he thinks if he’s not funny every second, it’s not worthy.

I think this documentary is definitely a huge step in Russell’s campaign to be taken more seriously. It’s even more powerful than that clip of him on "Morning Joe." So great.

I had to put that in the movie.

How have the first screenings been going?

Great. It opened SXSW. I believe it was the first documentary in a decade. It was a very cool honor to open the whole conference. And it played twice at USC. The students just loved it. I kind of made it for them, actually. I made it for kids to tell them to stop wasting their time. If they can see a role model go and get everything that they want (become a Hollywood star/marry the world’s biggest pop star) and then just walk away from it. Like, the proof is in the pudding. That’s why I said to Russell that this movie couldn’t just be you going around talking to people. Your life story has it all. You grew up thinking you needed to claw your way out of the “penitentiary of anonymity,” as he calls it. In this, you get everything you ever wanted and it’s SO profoundly disappointing.

I also think it’s incredibly inspiring how he’s able to stay sober. 13-14 years now. And to help so many addicts while he’s being lambasted for stepping outside of the box that he’s been put in. I mean, he really didn’t like the headlines that I put in the movie. But I told him, you don’t win in the end if you win all along the way. If you lose along the way, you win in the end.

If it’s nonstop praise, it wont be a good movie.

That’s what I’m saying. People don’t want to root for a guy who has everything great happen to him all the time. They want to see you scared in the bathroom trying to get your shit together before you propose that America should overthrow its government.

On "The View"!

On "The View"! You know what I mean!? They want to see that you’re facing down your fears with courage. If it looks too easy it’s like, fuck it. So I had to protect the film for his sake. I even fled to Southeast Asia at one point. He was just sending so many changes and notes. And then I got invited to show my work to the Queen of Bhutan. And so I said, “I think it’s time to go to Bhutan.” But then two days later, I contacted my Mom to let her know I was still alive. And my mom says, “Did you get Russell’s flowers yet?” I was like, ha ha, but then she says, “No, his office contacted your office to see where you were to send you flowers.” And I looked at these exotic flowers on my desk and lo and behold, there was a note from Russell. And then 10 more changes came in. The changes just kept coming in. But I said, the last thing you want is a puff piece. And he said “Well, that’s the second worst thing that could happen.” Meaning that this was the first. I think he thinks this film will derail his mission but he should know by now that it’s only going to help.

"Brand: A Second Coming" premieres in New York Oct. 1.

Also on Huffpost:

For a constant stream of entertainment news and discussion, follow HuffPost Entertainment on Viber.

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

Today is World Ballet Day, a day of recognition that began just last year as an effort to celebrate the intricacies of professional dance around the globe.

This year, five major ballet companies -- The Australian Ballet, Bolshoi Ballet, The Royal Ballet, The National Ballet of Canada and San Francisco Ballet -- are letting fans take a peek into the lives of famous dancers. Together, they are hosting a live stream on YouTube that's documenting rehearsals, performances and behind-the-scenes bits, giving fans the ultimate backstage pass to a realm filled with equal parts art and athleticism.

In honor of World Ballet Day, the HuffPost Culture team would like to reinvigorate one of our past campaigns, titled #WhyIDance. Around this time last year, we asked professional and amateur dancers alike to explain the reasons why they take the stage nearly every day, contorting their bodies into physical expressions of music and emotion. We received responses from icons like Misty Copeland, Duncan Lyle and Connie Shiau, as well as some of our dance-obsessed Twitter followers and an entire children's dance class in Hawaii. 

"I dance because it is my passion," Ommi Pipit-Suksun from Ballet San Jose explained. "Dance enables me to find different facets of my inner self, yet allows me to lose myself at the same time. Overcoming challenges and the feeling of self-fulfillment is why I love to dance."

In honor of the second annual World Ballet Day, we're asking readers to bring back the #WhyIDance hashtag, and let the social media world know why you love to move. Go ahead, let out your love for toe shoes and George Balanchine -- it's a dance holiday, after all.

For more on the beauty of ballet, check out our brief visual history of ballet in the 20th century.

Also on HuffPost:

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

An inspiring photo series shows how far dozens of preemies have come since their days in the NICU. 

Canadian photographer Red Méthot took pictures of children holding old photos of themselves as premature babies in the hospital. He calls the series "Les Prémas" ("The Preemies").

"It's a big message of hope to parents going through this tough time," Méthot told The Huffington Post. "I wanted the pictures to say: Hey, look, they've also been there and look how awesome they are now."

For the photographer, this series was personal, as his two children were born prematurely. "Before that, I knew pretty much nothing about prematurity," he said. "So I decided that this photo project would help make people know more about this topic."

Méthot began the series by photographing his own kids and then reaching out to families whose babies were in the NICU around the same time. He also posted a callout on his Facebook page and received tons of responses. 

When it came to setting up each shot, he approached the series with his memories of that difficult time in mind. "I decided to make pictures that I would have wanted to see when my first-born child was at the hospital for many long weeks."

Keep scrolling and visit Méthot's Facebook page and website for a look at "Les Prémas."

H/T BoredPanda

Also on HuffPost:

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

Reports surfaced earlier this summer that George R.R. Martin, author of the A Song of Ice and Fire series, would be overseeing a "Game of Thrones"-inspired coloring book. As of Thursday, it appears the book is finally here, and with a release date.  

The book, which will feature 45 exclusive black-and-white illustrations from famous fantasy illustrators, is available for pre-order on Amazon. It will officially go on sale on Oct. 27 for $10.59. 

Not only does the cover look amazing, but the description for the coloring book (All men must draw!) is admittedly epic: 

In a world where weddings are red, fire is green, and debts are paid in gold, countless images leap off the page thanks to the eye-popping intricacy of the vivid settings and details. Now, for the first time, fans of this blockbuster saga can fill in the blanks and marvel as this meticulously imagined universe comes to life, one sword, sigil, and castle at a time. 

At least this will give fans something to do before Season 6 premieres in April 2016. Pre-order the book on Amazon here, and mark Oct. 27 in your calendar now. 

Also on HuffPost: 

For a constant stream of entertainment news and discussion, follow HuffPost Entertainment on Viber.

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

For impassioned, young theatergoers who live for the cast albums of "Les Misérables," "Hamilton" and other hit musicals, Elsie Fest was, undoubtedly, the pinnacle event of the season.  

Fresh off his stint in Broadway's "Hedwig and the Angry Inch," Darren Criss co-devised the Sept. 27 event as a one-night-only fête of all things Broadway, teaming up with manager Ricky Rollins, producer Jordan Roth and a bevy of stage and screen pals. The aim, he said, was to meld the pulse of outdoor music festivals like Coachella and the pizzazz of Broadway with the intimacy of cabaret. 

The result was a splashy, seven-hour celebration that saw the beloved "Glee" veteran take the stage at New York's Pier 97 with fellow stars Aaron Tveit, Laura Osnes, Leslie Odom Jr. and Lea Salonga for energetic sets comprising show tunes, contemporary pop and even Disney classics. A portion of the proceeds went to Broadway Cares/Equity Fights AIDS. 

While he is hopeful that it would become an annual tradition, Criss was quick to stress that the event was very much an experiment. Whether or not fans used to seeing big-scale musicals in big Broadway theaters would greet their favorite performers with the same enthusiasm in a rock-and-roll, Bonnaroo-type setting, he said, remained to be seen. 

“I’m all about fusing things together that people don’t necessarily know would work,” he told theater blog Center on the Aisle ahead of the show. “The biggest danger is when you start to rely on things that have worked in the past, and when you play it safe.” 

Still, Broadway's fall season is shaping up to be its most diverse yet, a fact not lost on Criss and the Elsie Fest team. In fact, those who immediately associate musical theater with jazz hands and top hats (not to mention a stuffy, older crowd) would find none of that here. Each performance felt geared toward the hip audiences who are making shows like "Hamilton" unprecedented smashes.

Judging by the thunderous applause that greeted Tveit's cheeky take on Taylor Swift's "We Are Never Ever Getting Back Together" and Criss's heartful version of "I Dreamed A Dream" from "Les Mis," the show needn't worry about finding an eager audience. Bravo to Criss and the rest of the performers for not only shining the spotlight on musical theater, but giving the genre a blast of modern cool. Now we're just counting down the days until news of the 2016 lineup! 

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

A Sydney photographer who was trying to capture images of a storm over the city wound up getting something even better thanks to a bride and groom. 

Sam Yeldham was snapping shots at Bradley's Head last weekend when he took a photo of a couple against the striking backdrop of large looming storm clouds with brilliant sunshine breaking through.

"I was out at Bradley's Head to shoot a time-lapse because there was a storm coming over and I was trying to get that ominous, hugeness of the weather," he explained to the Sydney Morning Herald. That's when he saw the couple and their wedding party huddled under umbrellas. When the sky cleared, the bride and groom walked out onto a platform in the harbor.

"The sun came out of the clouds and I just had to snap the photo because it was an incredible moment," Yeldham told Daily Mail Australia. "It was so windy and rainy and it just stopped for a few minutes for them to kiss at the end of the platform -- it was pretty amazing."

Yeldham told The Huffington Post that he didn't actually preview the shots until after the couple left.

"As soon as I did, I knew that I had captured a l lovely moment. It was just so nicely and naturally staged, so I was quite excited by what I had," he said.

BuzzFeed saw his work on Instagram and published the pics in a story, asking if anyone had information about the couple. Sure enough, the bride and groom -- Chris Galvin and Jessica Pearson -- received the news while on their honeymoon in Hawaii. 

"Our phones suddenly went crazy!" Galvin told Daily Mail Australia. "It was the last thing we were expecting."

 Yeldham has only been in touch with the couple over Instagram so far, but he told HuffPost that they liked the shot. 

"Though no emojis were used so I think I'll have to wait till maybe I meet them to gauge a reaction," he said.

Head over to Yeldham's Instagram to see more of his work. 

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

Rowan Blanchard continues to prove that she's not only one of the most talented, but the most aware young actresses in Hollywood today.  

The 13-year-old star of Disney Channel's "Girl Meets World" revealed in an Elle interview posted on Sept. 28 that she once had to call out an interviewer for asking her a sexist question on the red carpet. 

"Someone recently asked if I had any dieting tips for other teenage girls," Blanchard said. "Try and reverse that. 'Do you have any dieting tips for other teenage boys?'"

For the young actress, being asked about her dieting habits is not only rude, but absolutely absurd. "I mean, come on. I don't diet! I'm thirteen! Nobody my age should be dieting or trying to change themselves because society says so. And seriously, I'm thirteen!"

Blanchard then continued with some of the best dieting advice ever given: "The only 'dieting tip' I have is, like, if you don't order fries, you'll probably be mad."

Blanchard, an ambassador for the #TeamHeForShe feminism campaign, says that she's fine with answering questions about who she's "wearing" on the red carpet, but that shouldn't be the focus. 

"It's cool to spotlight a new designer on the runway, and to contribute to the fashion world that I love," Blanchard added, "But don't make my story, and who I am, be my dress, while my male co-star's story is how he picks scripts and gets inspired."

Blanchard has been extremely vocal about feminism and gender equality over the last year. In June, she gave a speech calling out the wage gap for #TeamHeForShe and in August she wrote a blog post on the importance of intersectional feminism. If Blanchard is this amazing at just 13 years old, there's no telling  how much of a badass she's going to be in the future. 

 H/T Elle

Also on Huffpost:

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.