A slice of Hillary Clinton’s life will soon get the biopic treatment.

“When I’m a Moth” depicts 22-year-old Clinton in the summer of 1969, between her Wellesley College graduation and years of law school. She used the time to take a road trip to Alaska, where she worked odd jobs, including gutting fish at a salmon cannery ― an experience she recounted on the campaign trail. According to her official website, she was quickly fired from the gig for voicing concerns about the facility’s health conditions. 

Addison Timlin is set to portray the former presidential candidate. Timlin had a guest arc on “Californication” and a supporting role in “That Awkward Moment,” but you should really see her as a nun returning home to her dysfunctional family in last year’s sweet, humorous “Little Sister,” currently streaming on Netflix.

Written and directed by Magdalena Zyzak and Zachary Cotler, “When I’m a Moth” has already wrapped production, according to The Wrap.

Clinton isn’t the only prominent politician to inspire film projects lately. Barack Obama saw two similar movies made about his life last year. “Southside with You” chronicled his first date with future first lady Michelle Robinson in 1989. “Barry,” which Netflix bought at the Toronto Film Festival, depicted Obama in 1981, then a transfer student struggling with his identity at Columbia University.

“When I’m a Moth” is also just one of several forthcoming projects that will dramatize Clinton. Last week, HBO announced a miniseries novelizing the 2016 election, from the team behind the Emmy-winning “Game Change.” Meanwhile, “Zero Dark Thirty” scribe Mark Boal and producer Megan Ellison are spearheading a separate miniseries about the election, based on original investigative reporting. And the next season of “American Horror Story” will revolve around the aftermath of the campaigns, although series co-creator Ryan Murphy said Clinton and Donald Trump will not be prominent characters but rather serve as a springboard.

There’s also “Rodham,” the indie movie based on a 2012 Black List script about Clinton’s days as an Arkansas lawyer in the 1970s. James Ponsoldt (”The Spectacular Now,” ”The End of the Tour”) is set to direct. Screenwriter Young Il Kim has said the project could begin production this year. Carey Mulligan was up for the role a few years ago, but she reportedly turned it down. 

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Anxiety has a way of sending you into a tailspin of worry and dread. And when that happens, it can make you feel closed off and interfere with your relationships and goals.

Everyone experiences anxiety on some scale. It could be from situations that are totally out of your control or things you’re just nervous about, such as a work project or tough conversation. 

But here’s the good news: This type of stress doesn’t have to take over your life. There are several ways to cope. One method? Listening to some mellow tunes. One study even found music may lower anxiety and cortisol levels (the stress hormone) in the body.

With this in mind, we asked HuffPost editors and our Facebook community to share their favorite songs that help them stay calm. Take a look below: 

1. Bye, Bye, Bye ― *NSYNC

“It never fails to make me want to dance, which research shows can reduce stress.” ―Lindsay Holmes, HuffPost Deputy Healthy Living Editor

2. Shadow Days ― John Mayer

“It is empowering. It reminds me of everything I’ve made it through. So, when I’m anxious, I listen to it to get myself back and remind myself that I’ll get through whatever it is.” --Ashley Tucker via Facebook

3. Sunday Morning ― Maroon 5

“The whole ‘Songs About Jane’ album is a nostalgia trigger for me (which can produce happy feelings!) and this song in particular just puts me at ease thanks to the melody.” ―Lindsay Holmes, HuffPost Deputy Healthy Living Editor

4. Shake It Off ― Taylor Swift

“This song is an instant mood-booster. I find myself literally shimmy-ing my shoulders to let go of whatever is bothering me.” ―Allison Fox, HuffPost Lifestyle Trends Writer

6. Stay ― Lisa Loeb

“It brings me from an 11 on the anxiety scale right back down to the functional range.” ―Tricia Durkin via Facebook

7. Float On ― Modest Mouse

―Angela Schlagenhaft via Facebook

8. Ooh Child ― Cover by Beth Orton

“The lyrics speak for themselves. ‘Some day, we’ll get it together, and we’ll get it all done. Some day, when your head is much lighter.’” ―Jordan Turgeon, HuffPost Senior Contributors Editor

9. I Can See Clearly Now ― Johnny Nash

“I immediately slow down and take deep breaths when I hear the first cords of this song. Deep breathing can spark an emotional and physical state of deep rest, by decreasing heart rate, blood pressure and muscle tension.” ―Allison Fox, HuffPost Lifestyle Trends Writer

10. Use Me ― Bill Withers

“So relaxing and fun. I love the DGAF vibe.” ―Kate Palmer, HuffPost Editorial Director of Lifestyle

11. Porcelain ― Moby

―Isa Hart via Facebook

12. Three Little Birds ― Bob Marley 

“Singing the mantra, ‘Every little thing is gonna be alright,’ helps me chill out. Research shows mantras can help you relax.” ―Allison Fox, HuffPost Lifestyle Trends Writer

13. Terrapin Station ― The Grateful Dead 

―JW Maupin via Facebook

14. Spiegel Im Spiegel ― Angele Dubeau

―Louise Pitcher via Facebook

15. Steve McQueen ― M83 

―MC Collins via Facebook

16. I’m Still Here ― Pearl Jam

―Ashley Jourige via Facebook

17. True Colors ― Cyndi Lauper

“It’s a reminder that no matter how the world looks at you, there is always a way to shine.” ―Bailey Sonday via Facebok

18. Aqueous Transmission ― Incubus

“Lead singer Brandon Boyd jokingly said that the purpose of the song was to make ‘the listener pee in his/her pants from relaxation.’” ―Grace Tato via Facebook

BRB, heading to our headphones to chill.

Listen to the stress-relieving songs in the playlist below:

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Anne Hathaway opened up about Hollywood’s gender inequality in a new interview with Elle magazine. 

The actress, who’s starring in the upcoming “Ocean’s Eight” (an all-female spinoff of the “Ocean’s” trilogy), told the magazine, “Hollywood is not a place of equality. I don’t say that with anger or judgment; it’s a statistical fact.”

Hathaway continued, explaining what it meant to film “Ocean’s Eight” with a main cast comprised of women. 

“Even though I’ve been in some female-centric films, I’ve never been in a film like this,” she said. “It just kind of makes you aware of the ways you sort of unconsciously change yourself to fit certain scenarios. It’s not better or worse or right or wrong, but there are certain things you understand about one another because of experiences you have in common … it’s probably easy for men to take that for granted. Just being on a set where I’m the one who possesses that ease is really something. It’s a nice alternative narrative.”

In the issue, the mother-of-one also speaks about the challenges and inequalities many working mothers face regularly. Hathaway got real about America’s parental leave policies, a topic she discussed in a powerful speech at the UN on International Women’s Day. 

“I can’t believe we don’t already have it,” she told the mag. “When [my son] Johnny was a week old and I was holding him and I was in the ninth level of ecstasy, I just all of a sudden thought, ‘Mommy guilt is invented nonsense.’ We’re encouraged to judge each other, but we should be turning our focus to the people and institutions who should be supporting us and currently aren’t.”

For more from Anne’s interview, head over to Elle. 

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One kindergartner in Chicago decided to celebrate her birthday by engaging in selfless acts of love. 

Armani Crews, who turned six years old on March 5, told her parents she wanted to mark the memorable day by helping to take care of those in need. At first, her parents admitted, they didn’t believe her request was a serious one, but they soon discovered that Crews was relentlessly committed to her mission.

“Every time we asked her what she wanted to do for her birthday she said she wanted to feed the homeless,” her mother Artesha Crews told The Huffington Post.

Crews and her husband helped to make Armani’s wish come true by making sandwiches to hand out to the homeless. But that wasn’t enough.

“She said, ‘No I want what I would have at my birthday party,’” Crews said. “So that’s what we did.” 

The family spent around $300 on food and items like chicken, fish, spaghetti, corn, green beans, mashed potatoes, rolls, cake, cookies, fruit and water, according to ABC. Local church members also donated materials in support of Armani’s mission, including toiletries, snacks and various grooming items. The family then delivered packages to the homeless in Chicago’s East Garfield Park neighborhood.

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All of Mikaela Shannon’s work is focused on self-love, and her latest project is no exception. The Canada-based photographer has been photographing new moms in what she’s calling the “Love Your Postpartum” sessions, and the results are stunning. 

“All of my work revolves around loving yourself and feeling beautiful,” Shannon told The Huffington Post. “Having a baby is a big step in life, that comes with a lot of changes. I want moms to never have to feel like their body isn’t beautiful as it once was. I want moms to embrace the changes their bodies went through to bring their babes into the world.” 

Shannon first got the idea for the series when a few mothers mentioned in passing that they’d love to do photo shoots to celebrate their new bodies. The idea stuck with the photographer and she posted in local mom group online looking for participants. Her request went viral, so she created a Facebook group where local moms are able to book their sessions.   

The result is a series of arresting images in color and black and white, showing mothers, many of them with their babies and other children, looking strong and beautiful in their skin. Many of the moms themselves have reported to Shannon that they feel empowered by seeing their bodies in a beautiful photograph from someone else’s perspective.

Shannon has photographed moms before. One of her ongoing series is entitled “Fed Is Best,” and the intimate series of photos of mothers feeding their babies was inspired by her time in a Romanian orphanage.  

“I was malnourished,” she says. “Adopted at age 1, and I only weighed 16 pounds. I stand behind 'fed is best.' I truly believe no matter how you feed your child, it doesn’t define you as a mother. Fed is always best and if you are supplying the necessities of life, who is anyone to judge?”

While the photographer is not a mom yet, she is getting married in September and hopes her work will help prepare her when the time comes. Keep reading for more of Shannon’s beautiful images, and follow the photographer on Facebook, Instagram and her website. 

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By the end of winter, you might’ve reached the end of what you thought was a limitless supply of quality shows. But great stories abound; below, we’ve chosen books to read based on our favorite shows to stream.

If you like “Planet Earth II,” read The Terranauts by T.C. Boyle

It doesn’t take an ecology nerd to appreciate the stunning visuals of “Planet Earth II,” a documentary series that reveals rarely seen snippets of life in ecosystems from the Arctic to the desert. If you’re fascinated by the complexity and the harsh beauty of life on Earth, you might like T.C. Boyle’s latest novel, The Terranauts. Humanity remains the primary focus of the book, which is set not in a natural habitat, but in an enclosed system based on Biosphere 2. The cast of “terranauts” who live and work in the sealed dome study the flora and fauna brought inside, which simulate several major ecosystems in one relatively tiny space, allowing them to move from the rainforest to the desert to the ocean in a matter of minutes. Meanwhile, their own lives, conflicts and modes of survival become part of the grand experiment ― a reminder that humans, too, are creatures eking out survival on planet Earth. ― Claire Fallon

Buy it on Amazon or at a local bookstore.

If you like “Jessica Jones” or “Luke Cage,” read Ta-Nehisi Coates’ “Black Panther”

Ta-Nehisi Coates has won a MacArthur Foundation “genius grant,” and a National Book Award for his much-celebrated work of nonfiction, Between the World and Me. Now, lucky for fans of superheroes like Jessica Jones and Luke Cage, he’s writing “Black Panther” stories for Marvel. His new series, “Black Panther and the Crew,” written by Coates and poet Yona Harvey, hits shelves this April. ― Katy Brooks

Buy it on Amazon or at a local bookstore.

If you like “Silicon Valley,” read Startup by Doree Shafrir

Will Pied Piper go belly up after fudging its user numbers, or will wunderkind Richard Hendricks finally figure out how to make his middle-out compression technology marketable? Will scenes full of tech industry jargon somehow still manage to amuse us? If startup parodies are your bag, BuzzFeed Culture Writer Shafrir’s debut will tide you over until the HBO show returns. ― Maddie Crum

Buy it on Amazon or at a local bookstore. 

If you like “Fleabag,” read Paulina and Fran by Rachel B. Glaser

The protagonist of Phoebe Waller-Bridge’s dark comedy “Fleabag” takes the trope of the “difficult woman” to the edge, delivering a compelling female character who is sexual, vain, narcissistic, self-destructive and a bit unglued. Similarly, Paulina and Fran of Glaser’s novel are self-obsessed and hungry for attention, their less virtuous urges battling their artistic aspirations for dominance. Both pieces offer portraits of flawed and unapologetic contemporary young women that might make older-generation feminists cringe. ― Priscilla Frank

Buy it on Amazon or at a local bookstore.

If you like “Riverdale,” read Virgin and Other Stories by April Ayers Lawson

The CW seems to have hit its stride with shows that fuse parody with earnest emotion. “Crazy Ex-Girlfriend,” “Jane the Virgin,” and now “Riverdale” all fit the mold of self-aware drama, full of enjoyable tropes. It’s hard to pinpoint what “Riverdale” isn’t: it’s a revamp of classic Archie comics, a murder mystery, and a teen noir à la “Gossip Girl.” It has football, female friendships and elicit student-teacher relationships. Lawson’s book is similarly hard to categorize, although most of the stories center on young people exploring their values and their sexuality ― just like Archie, Betty, Veronica and Jughead. ― MC

Buy it on Amazon or at a local bookstore.

If you like “Veep,” read The Nix by Nathan Hill

“Veep” is a TV show about a vice president-turned-president-turned-ex-president that provides the reserved comic relief “House of Cards” rarely gives us. The Nix is also political satire that, as my colleague Claire Fallon wrote in a review, comes off as “uber-timely” considering its heavy emphasis on the role media plays in escalating the political narratives that come to surround people and events in politics. It’s over 600 pages of witty, energetic writing and captivating farces that’s as easily binged as the last five seasons of “Veep.” ― KB

Buy it on Amazon or at a local bookstore.

If you like “Big Little Lies,” read Perfect Little World by Kevin Wilson

A new mother enters a seemingly utopian community where children are given the very best care. This is the premise of both “Big Little Lies,” the HBO drama starring Reese Witherspoon and based on a book of the same name, and Perfect Little World, a novel by Kevin Wilson, who writes absurd and touching stories about family. In Wilson’s book, the idyllic parental society isn’t a town on the shore, but a community created by a psychologist as an experiment, to determine what would happen if kids are raised without knowing who their real parents are. What could possibly go wrong? ― MC

Buy it on Amazon or at a local bookstore.

If you like “The Leftovers,” read Gold Fame Citrus by Claire Vaye Watkins

“The Leftovers,” which returns to HBO in April, is based on a novel by Tom Perrotta, so you should certainly read that. But, if you’re a fan of the apocalyptic-like storyline underlying the show, you’ll probably enjoy Claire Vaye Watkins’ Gold Fame Citrus, a book about ecological degradation, the back-slipping of humanity, and what happens when, in desperation, people turn to myths and phantasmagoria to explain their existence in a vanishing world. ― KB

Buy it on Amazon or at a local bookstore.

If you like “Search Party,” read White Tears by Hari Kunzru

Alia Shawkat’s moody, dark comedy features a directionless 20-something who finds purpose in her life by throwing herself into the quest to find a former college acquaintance who has gone missing. In the process, the show satirizes privileged white city-dwellers, the amateur detection craze, and conspiracy mindsets ― and reveals how much damage can be done by well-meaning people entertaining themselves by meddling in serious business. White Tears takes on similar themes, with more explicit racial commentary, in the realm of the music industry. Two white music producers attempt to perfectly replicate old blues recordings, only to find themselves caught up in an ominous mystery. Solving it seems like the path to salvation, but is that a false promise? White Tears mirrors the sharp cultural satire, detection throughline, and eerie, foreboding atmosphere of “Search Party,” so if you’re a fan of one, you should check out the other. ― CF

Buy it on Amazon or at a local bookstore.

If you like “Girls,” read  The Rules Do Not Apply by Ariel Levy

Can women have it all? This seems to be one of the questions that Lena Dunham has explored with “Girls”; her characters are often caught in the middle of two paradoxical wants. Similarly, in her new memoir, Ariel Levy writes about the assumptions she’s made about the conveniences she could afford as a modern woman, and how life disproved them. Both Dunham and Levy have been criticized as privileged for their portrayals of feminism today, but whether or not you’re a fan, both add new ideas to the canon of feminist storytelling. ―MC

Buy it on Amazon or at a local bookstore. 

If you like “Legion,” read The Regional Office Is Under Attack by Manuel Gonzales

“Legion,” the FX-adapted story of a mutant connected to the “X-Men” universe, is not your typical superhero show, so it’s difficult to pair with it a book as unconventional in style and cinematic flair. Instead, I’ll stick to something similar in subject matter (and, perhaps, humorous tone), and suggest The Regional Office Is Under Attack by Manuel Gonzales. In it there are superpowers, oracles, revenge plots, and cyborg appendages. It never takes itself too seriously, and while you might chuckle at the fetishized versions of female assassins, the novel manages to be to paint a picture of two compelling female protagonists in what might seem like a hyper-masculine world. ― KB

Buy it on Amazon or at a local bookstore.

If you like “Insecure,” read Difficult Women by Roxane Gay

Roxane Gay is the pioneering “bad feminist”; she even named her book of essays after the epithet. She’s forthright about the fact that she’s still trying to figure her life out, and along the way she’s made missteps. In Difficult Women, Gay’s heroines fight, bond and reflect on their upbringings. Likewise, Issa in “Insecure” (played by Issa Rae, author of The Misadventures of Awkward Black Girl) is a flawed human, and realer because of it. ― MC

Buy it on Amazon or at a local bookstore.

If you like “Halt and Catch Fire,” read Wolf in White Van by John Darnielle

I’m really just looking for a reason to talk about both “Halt and Catch Fire,” a TV show about the birth of the internet and the rise of connected video game culture, and Wolf in White Van, a minefield of a novel about a young man who builds a pre-internet role-playing game that connects players in an imagined world beyond our reality. The two revolve around similar time periods and subject matter: the 1980s, gamers, and the desire to construct your own universe. If you’re already enthralled with “Halt and Catch Fire,” I’d encourage you to pick up John Darnielle’s book for a slightly different, and a little bit darker, take on the that desire. ― KB

Buy it on Amazon or at a local bookstore.

If you like “Stranger Things,” read Fever Dream by Samanta Schweblin

In Schweblin’s slim, terrifying novel, a woman goes on vacation to a quaint town not far from a nearby city. She makes friends with a local, an alluring woman whose son seems somehow unwell. It’s not long before she’s come down with a debilitating fever herself; from the hospital she speaks with the boy about the affliction that’s come over the town. This mysterious story is a quick read, so it won’t hold you over until the Netflix show’s second season, but it’s a start. ― MC

Buy it on Amazon or at a local bookstore. 

If you like “Broad City,” read The Bed Moved by Rebecca Schiff

Fans of “Broad City” are addicted to its absurd and at times surreal sense of humor, smart and strong yet occasionally aimless female protagonists, and gritty portrayals of womanhood, youth, friendship and bad sex. Schiff’s debut short story collection uses a similarly sharp sense of humor to tell gripping stories about real women roaming the internet, judging their peers, or jumping into bed with someone else. ― PF

Buy it on Amazon or at a local bookstore. 

If you like “Jane the Virgin,” read Things We Lost in the Fire by Mariana Enriquez

The dramatic twists of “Jane the Virgin” are almost surreal: a woman puts her twin in a coma, a serial killer uses plastic surgery to change her appearance, a detective is shot on his wedding night. But, the absurdity of the show’s events don’t get in the way of its emotional resonance; the characters also confront real issues, like balancing work with parenthood. And Enriquez’s stories are as thrilling ― and as feeling ― as the show. ― MC

Buy it on Amazon or at a local bookstore. 

If you like “Chef’s Table,” read Blood, Bones and Butter by Gabrielle Hamilton

“Chef’s Table” is one of those shows that introduces you to chefs you’d previously never heard of, but henceforth can never stop talking about at dinner parties. Take for example, a South Korean nun who lives in a Zen Buddhist temple preparing the most mouth-watering vegan meals for her fellow monks, largely unacknowledged, in an existence that is so diametrically opposed to the celebrity-obsessed ways of other high-profile culinary geniuses. Another equally compelling chef: Gabrielle Hamilton, of Prune fame, who, upon reading her memoir, you’ll immediately be referencing in every food-related conversation you take part in. And probably every memoir-related one, too. ― KB

Buy it on Amazon or at a local bookstore.

If you like “The Americans,” read Secondhand Time: The Last of the Soviets by Svetlana Alexievich

Nobel Prize-winning author Svetlana Alexievich recounts the death of Communism through a series of interviews with Russian citizens who describe their lives during and after the fall of the USSR. Avoiding sensationalized media narratives and propaganda, these are the stories ― collected between approximately 1991 and 2012 ― of people who actually lived in the KGB-handled country exaggerated (to great TV effect!) in “The Americans” and are continuing their lives in a new kind of Russia. There are equal parts terror and hope in this critically acclaimed and deeply engrossing book. ― KB

Find the book on Amazon or at your local bookstore.

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Two German artists have created a project that will make you burst at the seams.

Painter Hank Schmidt in der Beek and photographer Fabian Schubert traveled throughout Europe to visit the spots where Vincent van Gogh, Claude Monet and Paul Cezanne allegedly painted their works. Perhaps you thought they might’ve done so in order to recreate the images of such esteemed artists.

Nope. They traveled to each location so that Schubert could photograph Schmidt in der Beek painting the patterns on his shirts and sweaters.

The fruits of their labor have been compiled into the hilarious book “Und im Sommer tu ich Malen” (which translates to “And in Summer, I do Painting”), published by Edition Taube.

Schubert told The Huffington Post that the duo came up with the off-the-cuff idea in 2009, shortly after they met hiking the Zillertal Alps in Austria. Both had gone on the hike with the intention of creating art, so Schubert just happened to have his medium format camera on hand and Schmidt in der Beek had his canvases and easel.

Yet, once Schmidt in der Beek sat down to paint and looked on at the vast landscape, his artistic intuition went in a completely different direction.

“Confronted with the immenseness of the mountains and the littleness of Hank’s canvasses, Hank decided to paint what’s nearest to him instead of what’s afield and giant,” Schubert told HuffPost.

In other words, he painted the pattern on his shirt, and Schubert captured it with his camera.

The results of their first encounter — and a four-week adventure throughout Europe — take the form of an amusing project that celebrates the joy of creating art while poking fun at the pretentiousness of it, as well.

And the very fabric of the idea is undeniably funny:

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An 11-year-old from St. Louis wants to celebrate black books and improve the literacy rate among other boys at the same time.

Sidney Keys III started his own reading club for boys called Books N Bros to show his peers that reading can be fun.

Sidney told radio program “St. Louis on the Air” earlier this month that “every time I go to the library at my school, there aren’t many African American literature books there.” After a visit to EyeSeeMe, a bookstore in University City, Missouri, that promotes African American children’s literature, he yearned to see more of himself reflected in books. 

Sidney’s mom, Winnie Caldwell, shot a video of him reading in the store in August that gained more than 62,000 views. She told the program that her son had never been to a store that housed so many books that reflected his culture. 

“You get to a point when he is 11 years old and it was so shocking for him to relate to someone on the cover in a positive aspect rather than it be some negative urban story we see a lot,” she told the local outlet. “I would like to make sure he sees himself in being whatever he can be.”

Caldwell said her son immediately had the idea to form a book club, using EyeSeeMe as their designated bookstore, after the video gained popularity. They did some research and decided to target boys 8-10, around the age their reading skills begin to lag behind girls. 

Since September, the club has met monthly to discuss one book with a black protagonist, which they vote on. Some of the books the club has read so far are Hidden Figures, The Supadupa Kid and A Song for Harlem: Scraps of Time, which they read during Black History Month. 

Though they focus on books with black characters, Books N Bros invites boys of all backgrounds to join for a monthly membership fee of $20. Each “bro” receives a book, worksheets to go along with the book’s theme and snacks at every meeting. Though the group is small ― seven to 10 boys and growing each month ― it already enjoys a few perks.

Ty Allan Jackson, the author of the club’s inaugural book, Danny Dollar, joined their first meeting via Skype. Club members get to take home books for their personal collection, thanks to a donation of more than 250 books from community group Serving with the Badge. After they discuss the book for an hour, the boys get to play video games for a half an hour at the Microsoft Store where they meet. 

The group also invites black male mentors to attend each meeting and impart some wisdom on the members. Sidney and his mom hope to expand the book club even more, possibly by including a digital component for boys outside of St. Louis. 

“My motivation is I already love to read but it would be awesome, even better, to read with other people,” Sidney said. “I want to keep doing it because I don’t know what will make me stop reading because I love to read.” 

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The final page of a classic children’s tale came unexpectedly to life in Oakland, California recently. 

A tree on a city sidewalk was chopped down, leaving a stump with a chair-like backrest jutting out, upon which someone has written a portion of “The Giving Tree” by Shel Silverstein:

”The Giving Tree” is the story of a tree that gives literally everything to a boy as he grows up and old, until nothing is left but a stump. 

The lines quoted on the stump in Oakland read: 

“I don’t need very much now,” said the boy.
”just a quiet place to sit and rest.
I am very tired.”
”Well,” said the tree, straightening
herself up as much as she could,
”well, an old stump is good for sitting and resting
Come, Boy, sit down. Sit down and rest.”
And the boy did.

The story has one final line: “And the tree was happy.” 

It’s not clear if that was left off for space reasons... or to show, perhaps, that this tree hacked on the side of a road isn’t happy with its fate.  

In any case, the tree is quickly becoming a local landmark as well as a sensation on social media. One thread on reddit has more than 2,000 comments.

It’s not clear who left the writing on the stump. The New York Times asked the city’s public works department if the tree was intentionally cut into a chair, but the agency was unable to find out.   

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This January, history was made by a hat. Stitched together from a four-cornered pattern and a skein of pink yarn, the “pussy hat” emerged as the unquestionable emblem of the Women’s March on Washington. And that emblem, worn by thousands of protesters on the day after President Donald Trump ― whose idea of “locker room banter” became public knowledge after the leak of a hot mic recording in October 2016 ― was inaugurated, is heading to the halls of museums.

Earlier this month, London’s Victoria and Albert museum announced that it had acquired a pussy hat worn at the Women’s March, knitted by Pussyhat Project co-founder Jayna Zweiman. Zweiman, along with Krista Suh, created the original pattern from which most pussy hats were born. Together, they posted the pattern online in a call to “craftivists” to turn January’s protest into a “sea of pink.” 

The hat is now on display in the V&A’s Rapid Response Collecting gallery, a space dedicated to items that shed light on current global events, political changes and pop cultural phenomena. 

“The Pussyhat is an important acquisition for the V&A in the context of the Museum’s Rapid Response Collecting project,” Corinna Gardner, acting keeper of the V&A’s Design Architecture and Digital department, explained in a statement to The Huffington Post. “The items we collect are evidence of social, political and economic change, and as a group they form a permanent legacy of objects that help visitors and researchers make sense of the world we live in today.”

The V&A isn’t alone in its acquisition efforts. From major institutions like the New York Historical Society and the National Museum of American History, to smaller organizations like The Fuller Craft Museum in Brockton, Massachusetts, and the Michigan State University Museum, curators across the country and abroad have added pussy hats, along with other objects related to the Women’s March, to their collections. 

“We had heard about the Pussyhat Project before the Women’s March ― both through social media and news stories ― and it was clear that the hats were going to have a large visual and cultural impact on the event worldwide,” Rebecca Klassen, assistant curator of material culture and exhibitions coordinator at the New York Historical Society, told The Huffington Post. The Society acquired several pussy hats, Klassen confirmed, “because the idea of collective effort is central to the project.”

“We [...] knew that the scale of the march would be historic,” she added. “Once we decided to collect objects related to the march, we would have been remiss to not include pussy hats.”

The hats, Klassen noted, have become a graphic symbol of women’s activism in the 21st century. While the pussy hat has garnered meaningful criticism from individuals who feel as though the term is not inclusive, it’s difficult to deny the hat’s significance as a visual cue.

“This modest pink hat is a material thing that through its design enables us to raise questions about our current political and social circumstance,” Gardner continued. “[It] has become an immediately recognizable expression of female solidarity and symbol of the power of collective action.”

Pussy hats, beyond their obvious significance to women’s rights, have become an implicit symbol of opposition to Trump. The subtle cat ears function as a not-so-subtle nod to his remarks about grabbing women “by the pussy.” If you’re wearing a pussy hat, it’s safe to assume your desire to reclaim the otherwise derogatory term “pussy” is aimed squarely at our current president; the discontent is worn on one’s head.

Perhaps because of this, museums like the National Museum of American History are careful to describe potential collection objects like pussy hats in strictly curatorial, non-partisan terms.

“Museum staff was out collecting at the Women’s March,” Smithsonian Institution Communications Specialist Amelia Avalos told The Huffington Post when asked about its plans for collecting and displaying pussy hats. “As you can imagine, our curators brought in quite a bit of material and are still in the process of sorting through and deciding what will be added to the collection.”

“At this time, there are no plans for anything they collected to go on view,” she added, referencing a NMAH website with more information.

Nonetheless, the power of the pussy hats’ presence in museums is impossible to ignore. When Fuller Craft calls the pussy hat phenomenon “the largest example of social activism through craft in U.S. modern history,” their inclusion in places like the NMAH make perfect sense.

So to everyone with a pink pussy hat on your dresser right now: your unassuming knitwear is actually a part of history.

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Approximately 125 years ago, a child named Henry Darger was born in Chicago. His life was lonely and riddled with pain ― the majority spent working as a janitor, attending mass or working alone in his Chicago apartment.

When he died in 1973, he had few companions save for his landlord Nathan Lerner, who, upon clearing out his former tenant’s belongings, made an unusual discovery. Among the possessions of his unassuming lodger, Lerner found thousands of pages of text, disturbing and dreamlike drawings, and one of the longest works of fiction ever made.

Darger is now regarded as one of the most exceptional outsider artists of all time. He’s is often described as an “outsider” because he was self-taught, isolated and removed from artistic institutions. It also doesn’t hurt that few details are definitively known about Darger’s life, rendering his violent and visionary works all the more mystifying and retroactively transforming him into a sort of urban legend.

In 2000, Intuit ― a nonprofit organization dedicated to the preservation of outsider art ― acquired the contents of Darger’s Lincoln Park apartment, where he lived and worked for 40 years. In 2008, Intuit used these belongings to build an environment meant to mimic Darger’s apartment, thereby offering his fans and skeptics a mediated glimpse into the artist’s world. 

In honor of the 125th anniversary of Darger’s birth, Intuit has scheduled a year-long string of exhibits and events focusing on the artist and his work. On view until the end of May is a show called “Source Materials,” featuring clippings of children’s books, comics, cartoons and other documents referenced in Darger’s epic, The Story of the Vivian Girls, in What Is Known as the Realms of the Unreal, of the Glandeco-Angelinian War Storm Caused by the Child Slave Rebellion.

This verbose title ― often referred to as The Realms, for short ― hardly hints at the overgrown narration that blossoms across Darger’s 15,145-page tale. It’s a book so long that, according to rumor, no one has ever read it start to finish. What’s more, there is an 8,000-page sequel.

The story revolves around the Vivian Girls, seven noble, young princesses hailing from the Catholic and moral land of Angelina, as they battle the Satan-worshipping Glandelinians, an evil empire who practices child slavery and torture. Although the girls are framed as the young heroines, they endure plenty of graphic horrors at the hands of their captors ― including strangulation, crucifixion and disembowelment ― along the way. 

“Little girls, from the ages of nine, eight and even younger, were tied down stark naked and a spade full of red-hot live coals laid on their bellies,” one excerpt reads. “Scores upon scores of poor children were cut to pieces, after being strangled to death ... Children were forced to swallow the sliced fragments of dead children’s hearts ... Their protruding tongues were extracted.’’ 

The fact that the depictions of darling girls being mutilated, tortured and killed appear in the honeyed, retro aesthetic of old-school bedtime books makes them all the more alarming. 

The chilling details of Darger’s visuals in The Realms raise a candle to the depths of his imagination. His ambiguities are thought to have mirrored his own inner battles, too ― his simultaneous desire to enact suffering one minute and thwart it the next. Occasionally, Darger inserts himself into the narrative, both as General Darge (a “protector of children”) and as a bloodthirsty Glandelinian. He also drafted two alternate endings: Good prevails in one, evil in the other. 

Ambiguity is present, as well, in the very anatomy of Darger’s characters, who include young girls drawn with penises. Myriad hypothesis circle this strange detail. Perhaps Darger wasn’t familiar with female genitalia, or felt torn between male and female himself, as did a character in his other book, Crazy Horse. Whatever the personal motivation for Darger’s choice, it speaks to his interest in illustrating the paradoxical, the two-at-once, the eternal in-between.

From the little that is known about Darger’s life, it is clear his relationship with the concept of childhood was intense and fraught. Many art historians account for his obsession with childhood because of the traumas endured in his own. At 4 years old, Darger’s mother died during childbirth and his newborn sister was immediately put up for adoption. At 8, his father, impoverished and ill, relinquished Darger to a home for boys. After lashing out in school, he was committed to the “Asylum for Feeble Minded Children,” a nightmarish, abusive institution that Darger eventually escaped at 17. 

After hopping a train back to Chicago, Darger went on to live what, from the outside, resembled a modest, solitary life. His free time, however, was spent furiously transcribing fears and fantasies into wild and sprawling narratives, formed both from images and words. 

Because he never went to art school or received technical training, Darger drew heavily from source materials in rendering his picture-perfect girls. He hoarded scraps of imagery that he would trace, copy and collage onto this burgeoning canvases. The resulting works combine the immediately recognizable innocence of sweet storybook illustrations with the fermenting horror of Darger’s carefully inflicted suffering, yielding some of the most difficult-to-digest depictions of all time. 

“Source Materials” provides a tour through the unwitting accomplices in Darger’s twisted fantasies. Horns from a ram in a coloring book emerge in dragon-like beasts he called called Blengins. And innocent children, pictured stirring cereal and riding swings, end up splayed and bloodied on Darger’s page. 

Perhaps some of the cult fixation on his sources is correlated to the dearth of available information regarding most aspects of his life. The black-and-white coloring book pages serve in place of the family albums, report cards, artist notes and other primary documents we are not privy to. The sugary sweet scraps show the Vivian Girls and their fantastical cohorts in better days, before they got wrapped up in the brilliant nightmares of one lonely janitor. 

"Henry Darger: Source Materials," curated by Alison Amick, runs until May 29 at Intuit: The Center for Intuitive and Outsider Art in Chicago. 

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Car rides become an entirely different experience when you have kids.

From the car seat struggles to the unending requests to the unbearable kid songs, moving from point A to point B involves a host of new challenges. But at least parents can know they aren’t alone. Many artists have turned their car ride struggles into creative illustrations.

Here are 19 comics that sum up driving with kids.

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Hipster baby names are an ever-moving class. Once a name gets widely used enough to be widely pegged a hipster baby name, it may be too popular to make any true hipster’s baby name list.

And yet when is a baby name hip and when is it just unusual or antiquated? Let’s look at some specific groups of hipster baby names and specific names that qualify now:

The Vintage Hipsters

Vintage baby names and hipster baby names often meet in the middle but not always. Here are some vintage names that qualify in the hipster group.

Girls 

Bathsheba

Esther

Eulalia

Harriet

Ida

Lula

Marguerite

Mary

Minerva

Nancy

Pearl

Rowena

Theodosia

Zephyrine

Boys

Albert

Bernard

Chester

Edmund

Ira

Leon

Linus

Ralph

Roger

Stanley

Van

Victor

Virgil

Wilfred

Exotic Hipster Names

International names can qualify as hipster, especially if they’re from an less represented baby name culture like, say, Basque or Welsh or Sanskrit.

Girls

Esmeralda

Fernanda

Flavia

Ines

Io

Ione

Ludovica

Olga

Noa

Fflur

Saskia

Soleil

Boys

Anders

Bas

Boris

Dev

Dimitri

Ivan

Lazaro

Magnus

Neo

Seb

Soren

Vladimir

Teilo

Hipster Nature Names

Nature names are a delicate thing when it comes to hipsters. You can’t use the obvious nature names like Lily and Fox and Sky. So you have to look further afield. These qualify.

Girls

Andromeda

Aster

Azalea

Bee

Birdie

Blossom

December

Dove

Lilac

Maple

Nova

Vega

Boys

Ash

Beach

Bear

Frost

Hawk

Huckleberry

Mars

Oak

Pike

Geek Chic Names

Moving beyond Millie and Oscar are these geekier chic hipster baby names.

Girls

Agatha

Agnes

Constance

Ethel

Eunice

Francine

Gertrude

Ida

Lenore

Mildred

Myrtle

Opal

Thomasina

Wilhelmina

Boys

Clarence

Edgar

Floyd

Irving

Leonard

Murray

Osbert

Oswald

Percival

Sheldon

Hipster Hero Names

Real and fictional hip heroes may inspire hipster baby names and namers. Here is a selection of hero names for boys and girls. 

Amadeus

Baldwin

Billie

Booker

Byron

Esme

Etta

Flannery

Gatsby

Hart

Hermione

Hero

Isla

Juno

King

Laszlo

Lolita

Martin

Matilda

McCoy

Merlin

Percy

Scout

Truman

Ulysses

Wednesday

Whistler

Winston

Zelda

Zora 

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Ballerina Ashley Bouder is crying. She’s standing alone in a rehearsal studio in front of 20 or so dance journalists and several funders of her small self-titled ballet company, and she’s crying. And I’m pretty sure it’s my fault.

She’s just finished showing us a snippet of pas de deux that she choreographed, and that she’ll perform in just over a week’s time with her fellow New York City Ballet principal dancer Andrew Veyette. The entire evening of dancing is devoted to women choreographers and to women composers. In over 15 years of dancing with City Ballet, Bouder tells the assembled crowd, she’s danced works by about 40 choreographers and can count only seven women among them. She can’t name a single woman composer whose music she’s danced to ― not a single one.

Which brings us to why Bouder is crying. I’ve asked her why it matters to her that more women be allowed to choreograph ballets. What does gender have to do with it?, I ask, channeling the purportedly gender-blind proponents of pure, context-free meritocracy. Ballet is ballet, right? Does it really make a difference if it’s made by a man or a woman?

She takes a deep breath, and begins to answer, her voice breaking before she can get more than a few words out. “I think a lot of it is about telling little girls that they can. I have a daughter. As a kid, I was told that I can’t, a lot. For me, to have my voice be relevant, and for people to listen, is really important. To say what I have to say, even if they don’t like it. I get to say it.” The room erupts into applause, and Bouder wipes her eyes and nods, her short brown ponytail bobbing.

Bouder joined the New York City Ballet at the age of 16, after spending a year in its feeder school. As a member of the corps de ballet, she was soon assigned soloist roles, and quickly promoted to the top rank of principal. For nearly half her life, she’s been dancing in one of the world’s best ballet companies, the keeper of the flame of founding choreographer George Balanchine, whose vocabulary of movement and once-avant garde style long ago became synonymous with American ballet.

Bouder describes herself as a “Balanchine ballerina,” and is admired for her mastery of quick footwork and speedy jumps. Where other ballerinas seem to drape themselves, long and languid, over choreography, Bouder appears to throw herself at it with staccato precision. After watching her attack turns and balances, you wouldn’t be surprised to find that she’d pierced a hole in the stage floor with her pointe shoe.

The lion’s share of choreography performed by City Ballet is by Balanchine, who died in 1983. In his absence, other choreographers have added to the repertory he built with help from Jerome Robbins. Current Ballet Master in Chief Peter Martins, and choreographers Christopher Wheeldon and Justin Peck, in particular, have left their respective marks on the company. You’ve probably noticed one thing those choreographers have in common: They’re all men.

The dearth of women choreographers has confounded parts of the dance world for some time: every few years, the debate over the overrepresentation of men in the ranks of top-tier choreographers, particularly in classical ballet, comes to a new boil before simmering down again. It’s not only choreography where women get short shrift. The ballerina may be the visual symbol of the art form, but behind the scenes, the levers of power and creative control are largely pulled by men. The overwhelming majority of companies in the U.S. are helmed by male artistic directors, and the choreographers they tap are mostly creating work set to music by male composers.

But a few years ago, the debate heated up again when City Ballet performed a program entitled “21st Century Choreographers,” featuring work by a handful of young modern ballet dance-makers, every single one of them a white man. The poster was jarring in its uniformity, and people took notice. “How can an art form be alive,” Dance magazine asked, “when it excludes so many?”

“Women bring a point of view that men don’t have,” Bouder tells me later in a phone interview. “But it doesn’t have to be anything particularly different to the table. It’s about having an equal voice to express our opinions and our feelings, too.” She says that because she’s in a position of power ― a top-tier dancer at a top-tier company, with a sizeable fan base and following. She wants to use it to speak out about inequities in the ballet world. “People will listen, and I think choreography by women just needs to be seen and heard.”

Starting this week, she’s also walking the talk. The Ashley Bouder Project is teaming up with New York Jazzharmonic for an evening of women-created works: two new ballets, both choreographed by women and set to music by women, and the revival of a Susan Stroman ballet set to music by Duke Ellington. They’ll all be danced by Bouder and her friends from City Ballet, including several fellow principals.

Other, more established companies have begun to put on similar programs. Pacific Northwest Ballet presented one last year, and the Cincinnati Ballet just announced that in their upcoming season, eight out of 15 choreographers whose work will be performed are women, five of whom are presenting world premieres.

Bouder hopes that City Ballet will be more conscious as it crafts its programs and picks choreographers, too. The pale male poster fail “was a big turning point,” Bouder said. “It’s not like any of those choreographers on that poster of five white men didn’t deserve to be there. They’re all talented, they all have great voices, and they’re creative and their ballets are good. But it’s really shocking when you go past the poster and you see five men who look almost identical in their black-and-white headshots!”

Negative media coverage of the homogenous programming had an effect, she notes: the next fall season the company performed works by two women, Annabelle Lopez Ochoa and principal dancer Lauren Lovette. “That was wonderful,” Bouder said. “There was a response to that criticism and that public outcry of ‘Where are the women?’” She hopes the small uptick in the inclusion of women isn’t a flash in the pan or a short-lived trend. “We’re such a big company, and people really follow the example of the New York City Ballet, so I hope they will continue to foster the contributions of women in the company. I hope that continues, and I think that it will.”

Boulder says that companies have a responsibility to help close the gender gap in choreography, long before it comes time to craft an all-women or women-heavy program. “I think that special attention needs to be paid, especially in places that foster creativity and choreography, to fostering those young female choreographers and giving them a little bit more attention,” Bouder said. “A little more of a chance to develop, and listening to them a little more when they’re young and say they want to choreograph.” The New York City Choreographic Institute, which is affiliated with City Ballet and has trained many of today’s leading ballet choreographers, should heed her advice: their list of alumni is almost comically male-dominated.

Though companies have a role to play, Bouder points out that some of the inequities that make it easier for men to be creative and to start learning to choreograph early are built into the fabric of the art form. For dancers in the corps, “when a lot of people are young and they have ideas and they want to do things,” the workload for women is heavier than it is for men. In most ballet companies, because of how ballets are structured, women perform more than men. “You put on a ballet like [Balanchine’s Walpurgisnacht Ballet] and there’s one guy and, like, 20 women. [Editor’s Note: It’s actually 24.] At New York City Ballet, our guys dance a lot more, but the women do far more than they do. Even if there are guys who are on every night, there are women who are on in three ballets every night. Which means more rehearsal time, too, during the day. Which means less creative time.” Even women’s stage makeup takes more time, Bouder notes, and so does breaking in and sewing ribbons on to pointe shoes, which professional ballerinas must do on a daily basis. In her early years, Bouder says, “I was on stage every night and then I had to go home and sew my pointe shoes. You’re just preoccupied.” Creativity requires time, and men have more of it than women do.

You need more than time to be bold and take risks — you also need a culture that gives you permission to do it. And Bouder says that boys in ballet are far more likely to get that than girls are. Because girls outnumber boys in ballet schools as well as in companies, she explains, they’re held to a higher disciplinary standard. “There are so many little girls that they need to almost weed them out, the ones who are serious and the ones who aren’t.” So, she says, “you have to be perfect, not only in class but in attitude and decorum and you have to fit in and be quiet. And the boys in some cases are allowed to just get away with murder ... but it doesn’t matter because they’re just trying to keep them in the class and keep them dancing, because you need boys to partner the girls.” This means more freedom outside of the studio, too. “And they’re allowed to be creative and they’re allowed to try things, and girls are not. They can just do whatever as long as they keep showing up.”

And then, the boys become men, and they get to make the ballets and run the companies? I ask. That seems like a pretty raw deal for the women. Bouder agrees. “It’s really unfair when you’ve spent your whole life playing by the rules, only to be stifled.” 

Bouder became a mother last year, shortly after a video of her doing an eye-popping pirouette combination while almost nine months pregnant went viral. She wasn’t back to full dancing strength in time to work with the two women choreographers whose works were performed at City Ballet this season. So she’s taking matters into her own hands. “I feel like I’ve gotten to the point in my career where I can get a message out and people will listen and maybe I can make a difference.... So that it doesn’t have to be this way. I want to be a voice for that, and I also want to be an example of someone who is actively trying to make a difference.”

Bouder says that having a daughter has changed the way she thinks about which voices get heard, and which get silenced. And it’s also made her more daring outside of the studio and offstage. “Having my daughter just makes me braver,” she says. “It makes me want to step out and do the things that I hope she has the courage to do.”

The Ashley Bouder Project will perform with New York Jazzharmonic Friday, March 17, and Saturday, March 18, at Symphony Space.

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On April 21, President Donald Trump is slated to receive an unusual package.

A campaign called #ReadMyLips is inviting women from around the world to write the president with their convictions and concerns regarding women’s rights and health under Trump’s administration. 

The letters will then be delivered to the White House in a most conspicuous packaging ― a large vagina sculpture made by Dan Castelli, a former specialty-prop fabricator at “Saturday Night Live.” 

The project is the brainchild of Mogul, a social media platform specifically designed for women. #ReadMyLips came into being after students from universities around the country flooded the site with their hopes and fears following the 2016 election. 

Mogul opted to reroute these concerns straight to the source, via the vehicle of a giant vagina. “By having the statue as this shape, it empowers women to be proud of their sexuality and bodies,” Michelle Wen, a student organizer from Cornell, explained in a statement. “Women have nothing to hide; we only have our determination, spirit, and strong minds to be proud of.”

The #ReadMyLips effort, originally brewed among 24 universities, spread to encompass thousands of colleges around the world. “The #ReadMyLips campaign is hugely important, not just in representing women across America, but in representing women across the world,” Oxford organizer Sasha Skovron said.

“Through this movement, we can send a message loud and clear: nobody has the right to deny a woman the freedom to make decisions over her own body. President Trump poses a great threat to this freedom, and so whether an American citizen or not, #ReadMyLips stands for women everywhere.”

To participate, make yourself a Mogul profile and post a message to President Trump here. If you share the movement on Facebook, you’ll get a free #ReadMyLips pin. 

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Like a witch in possession of a Time-Turner, J.K. Rowling continues to tweak the details of the Harry Potter universe long after the final book was released.

Now, in an updated edition of Fantastic Beasts and Where to Find Them, originally published in 2001, Rowling explores wizarding world rumors about Newt Scamander’s true identity.

The most notable tweak? Wizarding world tabloid journalist Rita Skeeter thinks Scamander was a spy for Dumbledore and, as Hypable reported, Scamander doesn’t exactly deny it.

Scamander, a Magizoologist, reportedly used the title as a cover to sneak into the Magical Congress of the United States of America of 1926. Whether the report is real wizarding news or fake is not yet clear.

But Scamander does confirm that he was close with Dumbledore, whom he described as “more than a schoolteacher.” This clue points to the theory that, rather than working for him as a spy, Scamander had a relationship with Dumbledore, whose character may be openly gay in upcoming movies. It also bodes well for young Dumbledore’s role in future “Fantastic Beasts and Where to Find Them” movies ― hopefully, we’ll be seeing more of him there. 

Here’s what else we know: Newt never graduated Hogwarts, and he’s still alive at the time Harry and friends go romping through the school’s halls.

Between Twitter, her fan site Pottermore, and new editions of the books, Rowling has built an encyclopedic ― or a Silmarillion-like ― store of facts about her characters. While some updates have been progressive ― confirmation from the author that Hermione could be black, for example ― others are simply ephemera for fans to gnaw on, bolstering theories about different backstories.

Until the next installment of Scamander’s story hits theaters, fans will be left to piece together these clues, whether by spell or sheer deduction.

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It’s a mouth-watering mystery.

Staff at the Avon Lake Public Library in Ohio are scratching their heads as to who keeps planting empty A.1. sauce bottles around the building, and for what reason.

Since January, employees have found 30 of the 10-ounce containers hidden on shelves, among newspapers and magazines. All were clean with “just a hint of the sauce odor inside,” the library revealed in a Facebook post.

”We mapped the first 12 to see if we could find a pattern, but we couldn’t find a discernible pattern,” the library’s page supervisor, Dan Cotton, told The Chronicle-Telegram.

Jill Ralston, the library’s public relations coordinator, doubted any bad-natured intent on the part of the anonymous prankster.

Staff have suggested that the bottles’ baffling appearance could be linked to the geocache located just outside the library.

Facebook users, meanwhile, have advanced their own ideas ― putting forward “dragon magic,” a restaurant industry book worm or a fan as being responsible for the stunt.

As of Tuesday, the mystery remained unsolved. The Huffington Post has reached out for an update.

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Remember when Rihanna made her feature-film debut in “Battleship”? Someone must have texted her in a crisis, because the singer’s movie career has seen an upswing since that noisy board game hit the big screen in 2012.

Rihanna’s latest booking is “Annette,” which Variety and Deadline call a “music-filled drama.” The Film Stage tweeted a sales poster that labels it “a film all in songs,” implying a full-on musical.

Amazon acquired North American distribution rights on Tuesday, confirming Rihanna’s casting opposite Adam Driver. (We know he can sing!) Rooney Mara had also been attached to the film, but she dropped out due to reported scheduling conflicts. 

The movie revolves around a widowed stand-up comedian, presumably played by Driver, whose 2-year-old daughter has an unlikely gift. Producers are hunting for a female lead to replace Mara before production begins this spring. Featuring new music from the indie-rock band Sparks, “Annette” is the first English-language project directed by Leos Carax, known for arty French films like “Boy Meets Girl” and “Holy Motors.”

Rihanna has a busy acting schedule ahead: She’ll soon be seen as Marion Crane on “Bates Motel,” and this summer she has a role in the time-traveling sci-fi adventure “Valerian and the City of a Thousand Planets,” starring Dane DeHaan and Cara Delevingne. Next year, she’ll appear as part of the illustrious “Ocean’s 8” cast, calling the shots with Cate Blanchett, Sandra Bullock, Sarah Paulson and other celestial gems.

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BBC One has just released a teaser for the upcoming “Love Actually” mini-reunion, and to us, it’s perfect. 

The 19-second spot features Andrew Lincoln recreating one of the original movie’s most memorable scenes. You know the one: he appears at Keira Knightley’s doorstep to profess his love for her using cue cards. However, his message is a little different this time around. 

“Hello, I just wanted to ask without hope or agenda (and just because it’s nearly Red Nose Day) that you’ll join us for a very special reunion called Red Nose Day Actually on Friday 24th March BBC One … Actually,” Lincoln’s cards read.

The “Love Actually” mini-reunion was created for Red Nose Day, the biennial event that supports the British charity Comic Relief, which was co-founded by the movie’s director Richard Curtis.

Along with Lincoln, Hugh Grant, Keira Knightley, Colin Firth, Bill Nighy, Liam Neeson, Thomas Brodie-Sangster, Rowan Atkinson and others will reprise their roles for the sequel of sorts, set to air on March 24 on BBC One. 

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For many queer people, tattoo shops can be hyper-masculine spaces of body policing and discomfort, making the experience of body modification unpleasant or even dangerous.

Brody Polinsky wanted to remedy this with his own tattoo shop that specifically caters to the needs of queer and trans-identifying people.

Based in Berlin, the tattoo shop, UNIV ERSE STUDIO, is open to everyone no matter how they identify ― as long as they are open to supporting the spectrum of human diversity. Polinsky began tattooing as a way to reconcile his own queer identity and deal with past trauma.

“Body modification is for everyone and queer tattooing is a very important space to create within it transparently,” Polinsky told The Huffington Post. “There are plenty of studios and street shops available for the hetero communities to feel they are apart of. For me, covering my entire body was an attempt to own my skin as a queer kid trying being apart of a community I did not feel accepted in.”

Polinsky hopes to see more openly queer tattooers going forward, as well as tattoo shops creating safe spaces for LGBTQ people to engage in body modification in ways that make them feel safe and comfortable.

“It does not matter how you identify,” Polinsky continued, “just as long as you are open we will get on fine over a tea and a relaxed album tattooing you.”

Check out a few other images of Polinsky’s tattooing below and head here for more information.

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