An award-winning British play that explores an unusual journey toward love and acceptance within the LGBTQ community just made its hotly-anticipated New York debut. 

Jon Brittain’s “Rotterdam,” which began performances at Manhattan’s 59E59 Theater May 17, follows Alice (played by Alice McCarthy), a closeted lesbian who plans to finally come out to her family after living with her partner in the Netherlands for seven years. At the same time, her partner (Anna Martine Freeman) tells Alice that he identifies as transgender.  

Though Brittain’s play grapples with themes of sexuality and identity, “Rotterdam” is ultimately a romantic comedy and, as such, concludes on an upbeat note for its central couple. The playwright, whose theatrical résumé also includes “A Super Happy Story (About Feeling Super Sad)” and “The Sexual Awakening of Peter Mayo,” told HuffPost that he began writing the play after several of his close friends came out to him as transgender. At the time, he said, he hadn’t seen many trans characters depicted in theater. 

“Over the years, I’ve tried to include LGBTQ characters in my work, even when they’re not the leads,” Brittain said. Over time, he became interested in “the idea of a character who have come to terms with their sexuality, who would then have to reconcile with their partner’s sense of identity,” and then find a way to reconcile the relationship. 

Brittain, who identifies as straight, said he was aware that his perspective on queer issues could be interpreted as “problematic” and, as such, went to extra lengths to “do the legwork” and be “respectful” as he wrote “Rotterdam.”

“There was a slight worry in my mind that it would seem cynical. I am aware that I carry a huge male privilege into this arena,” he said. “I know I’m writing about other people’s experiences... I like to think that I take that responsibility very seriously.”  

To that end, critics seem to be on board with Brittain’s work. “Rotterdam,” which premiered at London’s Theatre 503, has received almost universal acclaim since its 2015 debut. The Evening Standard called it a “lively, sensitive, hard-hitting piece about love, gender and sexuality,” while The Stage praised it for “managing to speak eloquently about a complex issue.” It went on to make history in April when it nabbed an Olivier Award (the British version of a Tony Award) for Outstanding Achievement in an Affiliate Theatre. That honor made it the first play to feature a transgender protagonist to win an Olivier. 

Ultimately, Brittain would be happy if “Rotterdam” encouraged conversations about LGBTQ relationships outside of the theater, too. 

“I think the play raises some questions more so than it comes down to specific answers,” he told HuffPost. “It would great if people came away thinking, ‘I need to educate myself and find out more,’ and that those who have already educated themselves see it as a positive contribution to that conversation.”

Jon Brittain’s “Rotterdam” runs at 59E59 Theater in New York through June 10. Head here for more details. 

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This mirror-illusion video has people doing a double-take.

Entitled “Walk in the Woods,” it’s the creation of Kevin Parry, a stop-motion animator at LAIKA. Be mesmerized as Parry travels through a mirror from one forest to another world, only to return moments later.

Watch the clip and see if you can figure out how he pulled it off:

How did he do it? Parry won’t give away all of his secrets, but he did offer a brief explanation to the photography website PetaPixel.

“The video is comprised of a single take, duplicated, and I had to make sure my start and end points were fairly lined up when shooting,” Parry said. “There is a bit of digital trickery in that I had to warp the ends of the clips to match, but there’s a hard cut in there (with only a few frames of dissolve). But I didn’t green screen or mask anything.”

The video has picked up more than 100,000 views since it was published on May 11.

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Ava Morrison-Bell is an 11-year-old from the UK with a whole lot of moxie.

Morrison-Bell was asked to fill out a form for school with questions for students about their teachers. One asked how teachers can do better. 

The conscientious Bell suggested that they “not use collective punishment” as it is not fair for the people who “did nothing,” as per a tweet of the response by her father Mason Cross.

She goes even further to cite the “1949 Genva Conventions” as evidence that this behavior is “a war crime.” 

Undoubtedly, Bell means the Geneva Conventions, a series of international treaties established between 1864 and 1949. Most intriguingly, she’s referencing the 1949 Protocol II within the Conventions that “prohibited collective punishment.”

Granted, that protocol also prohibits torture, the taking of hostages, acts of terrorism, slavery, rape, enforced prostitution, etc., but the point is salient: Bell doesn’t want to be held responsible for things she didn’t do.

Cross told HuffPost that his daughter “said very positive things in the other answer” and that her teacher responded to her answer with “a dignified silence.” 

Additionally, Cross said that this wasn’t even the only time his daughter has mentioned the Geneva Conventions in casual conversation. 

“She also cites minimum wage legislation when we offer her £2 to tidy her room,” Cross told us.

Ava, you’re the best. We can only hope you’ll become a human rights lawyer one day.

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Two Portland-based women were forced to shut down their burrito food cart over accusations of cultural appropriation and recipe stealing. 

Liz “LC” Connelly and Kali Wilgus’ Kooks Burritos business was featured in the Willamette Week on May 16. During the interview, Connelly described how the duo made their own tortillas after taking a trip to Puerto Nuevo, Mexico, in December and obtaining information on the process.

The method by which the two non-Hispanic white women obtained the information on tortilla making is questionable. 

“I picked the brains of every tortilla lady there in the worst broken Spanish ever, and they showed me a little of what they did,” Connelly told the Willamette Week. “They told us the basic ingredients, and we saw them moving and stretching the dough similar to how pizza makers do before rolling it out with rolling pins.”

But Connelly also noted that many of the Mexican women were hesitant to give away their methods ― a fact that didn’t stop them from trying to gather more information. 

“They wouldn’t tell us too much about technique, but we were peeking into the windows of every kitchen, totally fascinated by how easy they made it look,” Connelly said. “We learned quickly it isn’t quite that easy.”

Once back in Portland, Connelly said she went to the Mexican market to buy ingredients and recreated the tortillas to the best of her ability with trial and error. The two women opened up their food cart on Cesar E. Chavez Boulevard.

Mic.com’s Jamilah King responded to the Willamette Week interview with a piece Friday calling out the women for “stealing recipes from Mexico to start a Portland business.”

“The problem, of course, is that it’s unclear whether the Mexican women who handed over their recipes ever got anything in return,” King wrote in the piece that also outlined how others had begun to accuse the women of cultural appropriation. “And now those same recipes are being sold as a delicacy in Portland.”

That same day, the Willamette Week tweeted an update that Kooks Burritos had closed.

While the food cart’s online presence quickly disappeared, the business’s Yelp page is still active (with an “active cleanup alert” that monitors comments based on the spike in activity due to news reports). Both supporters and critics have sounded off on the page. 

“How would you people feel if I went and spied on your family or business recipes and took it somewhere else for my own financial benefit?” Olivia L. from Portland wrote in a Yelp review. “This is stealing.”

Supporters, however, have pointed to how common it is within the culinary world and food industry to take methods and ingredients from other countries and profit off of them. 

Writer Jagger Blaec weighed in on the controversy in The Portland Mercury on Monday, saying “Portland has an appropriation problem” and breaking down how the issue is a reflection of a bigger problem within the city.

“Several of the most successful businesses in this town have been birthed as a result of curious white people going to a foreign country, or an international venture, and poaching as many trade secrets, customs, recipes as possible, and then coming back to Portland to claim it as their own and score a tidy profit,” Blaec wrote. “Now don’t get me wrong: cultural customs are meant to be shared. However, that’s not what happens in this city.”

“Because of Portland’s underlying racism, the people who rightly own these traditions and cultures that exist are already treated poorly,” the writer continues. “These appropriating businesses are erasing and exploiting their already marginalized identities for the purpose of profit and praise.”

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Oprah may be the epitome of black girl magic but even she can’t get enough of the amazing accomplishments from young black girls around the country. So she’s joining in on the celebration. 

This graduation season, the queen of media herself is going to commencement ceremonies for all of the young women who attended the Oprah Winfrey Leadership Academy in South Africa and are graduating from American colleges or universities this year.

Oprah ― who opened the academy in 2007 to provide young women in the country with an opportunity to learn, grow and graduate high school ― said she wants to support each of the nine academy alumni who will receive college degrees in the U.S. this year, marking a special moment not just for the girls but one for Oprah, too. 

“Seeing these students walk across the stage at graduation and accept their diploma – I am filled with a pride I didn’t know existed,” Oprah told HuffPost. “I would have to say it’s one the biggest rewards in my life – to see these girls become the women I always knew they would become.”

So far, Oprah has traveled across states to attend six graduation ceremonies, three of which she was chosen to be a guest commencement speaker, including: Agnes Scott College, Smith College, and Skidmore college. She also attended ceremonies at Johnson C. Smith University, Elon University, and Colorado College. 

This is the second year that 100 percent of the OWLAG graduates who have completed their studies and earned degrees in America have earned degrees. There are currently 16 young women who are attending colleges or universities in the states. To date, there is a total of 393 OWLAG graduates who have gone to colleges and universities around the world and 310 students who are currently in attendance. 

Over the years, Oprah says she has done her best to establish strong relationships with each of the girls. They call her “Mom Oprah” and she calls them her “daughter girls.” They also text and FaceTime her frequently and try to visit her during holidays, building a special bond with an inspirational woman who not only looks like them but who also provides them with opportunities to help them each live their best lives. 

“I opened my school for girls in South Africa because it has been shown throughout the world that when you impact a girl’s life through education, that opportunity is given back to her, her family and her community,” Oprah said.

“I have always tried to be there for my girls over the years, spending time with them, talking about their hopes, fears and aspirations, and sharing life lessons I’ve learned along the way,” she added. “I want them to know they have my support in all of the big and smallest of ways.” 

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A long time ago, in a galaxy far, far away, editors at HuffPost got together to rank characters in the “Star Wars” universe, from Jar Jar Binks to best. Now, in honor of the franchise’s 40th anniversary, we’re doing it again. Some of those editors have moved on from HuffPost and are now Force Ghosts, but with new additions from “The Force Awakens” and “Rogue One,” updated, the list must be.

This subjective inventory weighed a number of factors — cultural imprint, importance to the story, coolness and whether or not the characters were toys we wanted to own right now as children. Longevity was also taken into account. Some newer characters were excluded but perhaps would be included in future updates as their impact and relevance grows. 

With this list, you’ll disagree. In the comments, let us know. And may the Force be with you. Always.

93. Jar Jar Binks (pictured)

92. Saw Gerrera

91. Anakin Skywalker

90. Greedo (who shot first)

89. Nute Gunray

88. Boss Nass

87. Bodhi Rook (pictured)

86. Teedo

85. Watto

84. Characters from the chess board on the Millennium Falcon

83. Daniel Craig’s Stormtrooper

82. Supreme Leader Snoke

81. All power-converter salesmen at Tosche Station

80. Sebulba (pictured)

79. Oola, Jabba’s dancer

78. Malakili, rancor keeper

77. Chirrut Îmwe

76. Shmi Skywalker

75. Saché

74. Sabé

73. Zam Wesell

72. General Veers

71. Exogorth

70. Bail Organa (pictured)

69. IG 88

68. Bib Fortuna

67. Orson Krennic

66. Gamorrean Guards

65. Dianoga

64. Plo Koon

63. Admiral Ozzel

62. Unkar Plutt

61. Galen Erso

60. Uncle Owen (pictured)

59. Aunt Beru (pictured)

58. The Sarlacc

57. Bothan spies

56. Wampa

55. Tauntauns

54. Kit Fisto

53. Bossk

52. Dak Ralter

51. Shaak Ti

50. Jango Fett

49. General Hux (pictured)

48. Cassian Andor

47. Admiral Motti, whose lack of faith was disturbing

46. Jek Porkins

45. Captain Phasma

44. Ki-Adi-Mundi

43. Count Dooku (pictured)

42. General Grievous

41. Maz Kanata

40. All the Ewoks except Wicket

39. Salacious B. Crumb

38. Jyn Erso (pictured)

37. Imperial Guards

36. K-2SO

35. Poe Dameron

34. Wicket

33. Mace Windu

32. Lobot

31. All the Jawas

30. Greedo (who didn’t shoot first)

29. All the Tusken Raiders

28. Padmé Amidala (pictured)

27. Nien Nunb

26. Figrin D’an and The Modal Nodes

25. Wedge Antilles

24. Finn

23. Mon Mothma

22. Rancor

21. All Stormtroopers

And now, citizens of the universe, here are the top 20 you’re looking for:

20. BB-8

Much like C-3PO and R2D2 become the narrative conduit in the original trilogy, BB-8 fills that role in “The Force Awakens.” BB-8 represents that wide-eyed little kid we all tried to re-suppress after the disappointing prequels, who couldn’t help but emerge again in the presence of a resurrected — read: potentially better — “Star Wars” franchise. As hardened “Star Wars” fans, scarred by the saccharine CG-quels, resisting new episodes was understandable. But the second BB-8 let out that sad womp-womp-womp in the desert, convincing Rey to help him, he made it a “Star Wars” film. ― Andy McDonald

19. Grand Moff Tarkin

YouTube

It takes a special kind of Moff to hold Darth Vader’s leash. It takes Grand Moff Tarkin. Entrusted with the keys to the first Death Star by Emperor Palpatine, this high-ranking Imperial official was the man who destroyed Alderaan and nearly wiped out the Rebel Alliance at the Battle of Yavin. Unfortunately for the Empire and himself, Luke Skywalker’s X-wing slipped through his fingers as he tightened his grip on the uprising. — Chris Greenberg

18. Kylo Ren

Darth Vader left behind a big cape to fill. And then along came his grandson, the testy and conflicted Kylo Ren. Once a Jedi in training who now wields a frightening crossguard lightsaber, Kylo takes no prisoners, including his own father, Han Solo. Leading a merry band of baddies and unmasking himself with an aplomb that Granddaddy Darth would never dare, Kylo Ren lacks the slick perfection of most “Star Wars” villains. He’s reckless, irascible, sloppy and all the more intimidating for it. His anger is enough to make his own Stormtroopers turn the other way, creating a dynamism that most franchise antagonists don’t capture. He can also deliver a withering insult, as evidenced when he hissed “look how old you’ve become” at Lor San Tekka. With Luke Skywalker re-emerging and Kylo’s conflict with Rey continuing to develop, the Kylo Ren Show is only just starting. ― Matthew Jacobs

17. Luke Skywalker

Luke is the ostensible everyman of the “Star Wars” universe, the unwitting hero thrust into the middle of a galactic battle that raged long before he was even born. So why is he so annoying? In “A New Hope” and “The Empire Strikes Back,” Luke is such a teen he might as well stomp up the stairs and slam the door to his bedroom. In “Return of the Jedi,” his demeanor becomes equal parts smug and cocky, like a college freshman returning to his parents’ house for winter break. It’s all too much. (Meanwhile, Han and Leia are carrying the heavy water for the Rebel Alliance.) Fans might find this controversial, but search your feelings ― you know it to be true. — Christopher Rosen

16. Jabba the Hutt

Jabba’s only notable appearance in the franchise comes in “Return of the Jedi” (sorry, Special Edition Jabba in “A New Hope”), but his Tatooine lair is such a world unto its own that the crime lord has remained one of the franchise’s defining figures. The many creatures who inhabit his cave have become just as much a part of his image as their own, from Bib Fortuna and the green slave woman to a band that rivals the Mos Eisley cantina group. Jabba may be a massive blob, but his spittle has earned its spot in the “Star Wars” canon. — MJ

15. Emperor Palpatine

With the ability to deceive and maintain control over most of the galaxy, Emperor Palpatine was arguably the most powerful character in the “Star Wars” universe. But like many villains, his downfall was the result of his overconfidence and pride. He incorrectly believed that he had enslaved Darth Vader to the point of no return. But while the Emperor was the worst of the worst, he was also ... kind of fun? Sometimes you just want to obscure your face in your hoodie and let out an twisted, raspy, “Greetings, young Skywalker!” — AM

14. Admiral Ackbar

If you believe Admiral Ackbar’s significance lies solely in his leading the attack on the second Death Star, stop that line of thinking — IT’S A ... pitfall. Part of what makes Ackbar so meaningful to “Star Wars” is that he is one of the highest-ranking military figures in the Rebel Alliance (Supreme Commander) and a non-human. Ackbar’s existence represents precisely the progressive values held by the rebellion in its battle against a Galactic Empire known for its hostility toward non-humans. OK, yes, fine: IT’S A TRAP! — AM

13. Rey

She’s a hero who needs only one name, like Chewbacca or Madonna. But if she had a surname, what would it be? Skywalker? Kenobi? Last name Ever, first name Greatest? Rey’s mysterious past and crazy connection to The Force make her one of the most intriguing characters in the “Star Wars” universe. And she’s a baller. Whenever this orphan-somehow-turned-expert-pilot is on screen, it’s worth all the portions Unkar Plutt could give. All of them! If we had known Rey a little longer, she’d most definitely break the top 10. She is the last Jedi, after all. Wait, isn’t she? Is “Last Jedi” plural? Seriously, who are her parents? Is it Jar Jar? Rey, meesa thinks yousa owe us some answers. ― Bill Bradley

12. C-3PO

In terms of pure comedic relief, there is no better member of the “Star Wars” ensemble than C-3PO. Fluent in “over 6 million forms of communication,” Threepio is one-half of the best dysfunctional multilingual duo in movie history (alongside R2-D2, of course). The gold droid with the heart of a puppy dog and the temperament of an anxious worrywart is vital in getting the Rebels off Hoth and Han out of Jabba the Hutt’s palace. He may be an Anakin Skywalker creation, but he’s more fun than any other “Star Wars” character. Just don’t call him a mindless philosopher, you overweight glob of grease! — MJ

11. Darth Maul

There have been few greater collective nerdgasms than the moment when Darth Maul unleashed the second blade of his double-sided lightsaber. (Look at that thing.) Horn-headed, eyes fire-red with flips for days, Maul is a demon’s whisper who slinks in and out of Qui-Gon and Obi-Wan’s peripherals before their epic final confrontation. Basically a manifestation of pure evil, the Sith Lord’s brief but insidious film stint was so haunting, his image has reached further than just the “Star Wars” universe. — Ryan Kristobak

10. Lando Calrissian 

Hello, what have we here? Lando Calrissian, of course. The true rapscallion of the “Star Wars” universe, Lando was a classic anti-hero in “The Empire Strikes Back.” Full redemption came later in “Return of the Jedi,” but the real reason he’s listed here is because of the way he says “Han” and “Chewbacca.” — CR

9. Qui-Gon Jinn

When the Jedi High Council hands down a decision, the Jedi Order listens without question. Everyone, that is, except for Qui-Gon Jinn. An O.G. Jedi badass, Qui-Gon asked the difficult questions while simultaneously showing love for even the smallest and seemingly most insignificant beings (seriously, he even liked Jar-Jar). Outside his many words of wisdom, we have Jinn to thank for discovering the Chosen One. — RK

8. Chewbacca

Is there a more lovable, oversized fuzzball than Chewbacca? If only we all had a sidekick as loyal as Han Solo’s Wookiee, who’s committed to protecting him after Han is dismissed from the Imperial Navy for refusing to kill Chewie. (We just went expanded universe on you guys.) He’s more than just friendly devotion and animalistic wails, though. Chewbacca convinces Han to turn back when he wants to abandon the Rebels in “A New Hope,” and how would the Millennium Falcon’s hyperdrive functions cooperate without his handiwork? He saved Yoda in “Revenge of the Sith,” and he basically gets the final word (so to speak) in “A New Hope.” He may seem like a “walking carpet,” but The Force would fall apart without our old pal Chewie. — MJ

7. Yoda

What to be said, need be? Yoda is one of the most recognizable characters in all of pop culture. He’s one of the wisest and most powerful of all the Jedi. A speech pattern named after him he has. In “Empire Strikes Back,” he’s introduced as a goofy little green muppet — with the soul of a philosopher. By “Return of the Jedi,” as you sadly watch Yoda fade away into “forever sleep,” you completely forget that he’s made of cloth and latex. That’s when you walk out of the room and tell your friends there’s “something in your eye.” — AM

6. R2-D2

The case can be made that with a few bloops and bleeps, R2-D2 is the most charming member of the “Star Wars” universe. The extremely well put-together droid is sassy in a way that makes him endearing — he doesn’t put up with C-3PO’s antics, for instance, and displays no fear in the face of the evil Empire. He’s also loyal: look at how hard he works to find Obi-Wan in “Episode IV” as evidence. Speaking of which: Without R2-D2’s bravery, would the events of “A New Hope” even occur? If Princess Leia had given the Death Star plans to C-3PO, we’d all be wearing drab grey uniforms and worshiping at the feet of Darth Vader. Hero status: legit. — CR

5. Boba Fett

It’s one thing to have a lot of great lines or amazing appearances in a film, but it’s quite another to have almost zero dialogue, just a handful of scenes, and still be seen as one of the most terrific characters in the entire series. But that’s Boba Fett. When even Darth Vader shows a modicum of respect for you, that’s saying something. And though the prequels killed his tough-guy image a bit — and the original trilogy, well, just killed him altogether, pre-expanded universe — Boba Fett is a character whose likeness is forever canonized. And not by George Lucas or some poorly conceived prequels, but by the fans. Like his Mandalorian armor, Fett’s legend is not easily compromised. — AM

4. Obi-Wan Kenobi

From the first moment we see him as a Padawan to his days in recluse as Ben Kenobi, Obi-Wan’s resolve, patience and excellent lightsaber skills make him one of the most important Jedis to ever exist. Look at this resume: He was the first Jedi to defeat a Sith Lord in approximately 1,000 years, routing on Darth Maul when all hope seemed lost. He conquers Anakin in combat, and despite all of the egregious actions his former Padawan has undertaken ― younglings, guys, Anakin killed younglings ― Obi-Wan chooses not to end his pupil’s life because Obi-Wan’s love runs too deep for his friend. In the end, Obi-Wan sacrifices his life so Luke can become the Jedi he was destined to be. True, compassionate and genuinely good, Obi-Wan is what makes a man a man. — RK

3. Leia Organa

Rebel. Politician. Soldier. Diplomat. Princess. Leia Organa is the woman that women want to be and that sibling Jedi and smugglers want to be with. From the moment her ship, Tantive IV, enters the screen carrying those stolen plans in “A New Hope,” this fearless and feisty heroine goes where most Galactic males feared to tread. Though she may look the part of the damsel, Leia doesn’t do distress, even when she’s in grave danger. She withstands Darth Vader’s torture on the first Death Star and gets fatal revenge on Jabba The Hutt for objectifying her with that metal bikini. A one-woman committee for change in the galaxy, Leia turns out to be Force-sensitive. — CG

2. Darth Vader

The first time Darth Vader ever appeared onscreen, he was cloaked in a haze of white exhaust from a Stormtrooper shootout. As his black cape comes into view, everyone flees — and one of cinema’s most iconic villains is born. There may be no movie character more synonymous with a few bars of music than Darth Vader is with the Imperial March. Over the course of the original “Star Wars” trilogy (we’re not talking about Anakin Skywalker here), Darth Vader’s guttural voice and masked visage gave us many of the franchise’s most memorable quotes (“I find your lack of faith disturbing”) and introduced the most terrifying way to die in screen history. Vader ranks behind only Hannibal Lecter and Norman Bates on AFI’s list of the greatest movie villains of all time, but surely neither of the other two has sold more than his body weight in toys and memorabilia. Impressive. Most impressive. — MJ

1. Han Solo

Mamas, don’t let your babies grow up to be smugglers. Don’t let ‘em fire blasters and drive that old Millennium Falcon. Make ‘em be Jedi and Imperial Governors and such. Unless, of course, you want them to be like Han Solo. A scoundrel with a heart of gold, Solo is the dashing, world(s)-weary cynic who shoots first and fixes the hyperdrive later. He may have joined up with the Rebellion for the paycheck and not the ideals, but that doesn’t stop him from helping to destroy a few Death Stars along the way. Don’t worry, he knows you love him. — CG

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For reasons of its own, the feisty dictionary Merriam-Webster decided to feature “inanition” as its word of the day on May 25, 2017. 

The noun describes “an exhausted condition,” more specifically “the exhausted condition that results from lack of food and water” or, secondarily, “the absence or loss of social, moral, or intellectual vitality or vigor.” 

Thanks to the online dictionary’s justified reputation as a sly political commentator and watchdog, followers were quick to see shade cast by the selection:

 Others made more direct political connections:

Who knows what motivated Merriam-Webster to highlight “inanition” at this moment in history Thursday? We can only speculate.

There’s certainly no confirmation that this feature was meant to tweak President Donald Trump for his reported belief that exercise depletes the human body’s finite reservoir of energy; or for the claim that his “Islamic terrorism” dogwhistle during a recent speech was a flub (”he’s just an exhausted guy,” a White House official told CNN); or for his previous criticism of Hillary Clinton as “low energy,” a claim which now strikes many as hypocritical.

The list of possible reasons goes on: Maybe the featured word was random. Maybe it was intended to serve as a reminder to hydrate during the upcoming warm summer months.

Maybe it was a wink of solidarity to those who feel fatigued by the constant flood of scandalous leaks coming from the White House and the repeated attempts by the administration and Congress to gut healthcare programs, environmental protection measures and other federal programs that many rely on for health and survival. 

One thing we do know, however, is what “inanition” means. Thanks, Merriam-Webster!

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A stunning photo series is showcasing the joys of a tech-free childhood.

New Zealand photographer and mother of four, Niki Boon, documented her children’s everyday lives in a series she calls “Childhood in the Raw.”

“This project came into being with our decision to educate our children alternatively, at home,” Boon told HuffPost. The family lives in a rural environment without modern electronic devices like TV and smartphones. 

Boon said this lifestyle choice has sparked a lot of questions and criticism from friends, family and strangers. At first, even she and her husband sometimes had doubts. 

“In the beginning, the photos served as a visual document, to record things that the children were doing in a day, to reassure both others and ourselves that there was learning taking place,” the mom explained.

“But as time went on, I became frustrated that the pictures weren’t really telling the story well enough for me. It just wasn’t with enough depth,” she continued. “So I spent many hours and late nights trying to teach myself how to take better pictures, ones that depicted what I was seeing in front of me, and tell the story the way I saw it … and things just evolved from there.”

Boon and her husband have a 12-year-old daughter and three sons, ages 7, 9 and 13. 

“Like all parents we would love our children to be strong in who they are, confident, free thinkers, proactive, independent, resilient, empathetic and happy,” she said. “I hope that, living with the land that we have, that they also gain a healthy respect for the earth, and for the animals and plants that live with us on it.”

The photographer said her family’s alternative, tech-free lifestyle reminds her of her own childhood growing up on a farm with extended family. She told HuffPost she hopes her photos move people in some way, “negative or positive.”

Ultimately, the mom just wants to document the wonders of her kids’ childhood. Said Boon, “I hope they look back on it and smile.”

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If you want to give your baby a name that transcends this decade, make sure it doesn’t start with Ad-, end with –ley, contain the letter ‘x,’ or honor a dead celebrity.

That’s what Nameberry found when we analyzed the Social Security baby names data of 2016 versus 2006 to identify which names have exploded in use over the past ten years. Then we looked at patterns among these hotter-than-hot names that indicate the major baby name trends right now.

According to our research, Juniper and Jayceon may well prove as emblematic of our times as Jennifer and Jason are of the 1970s. Here is our statistical analysis of the dominant baby name trends of the decade and the hot baby names that influenced them.

Ad- Names for Girls

Adalynn is 31 times as popular now as it was in 2006, followed by Adaline which is 26 times as popular, Addilyn at 21 times, and Adley at 19 times. Add to this the status of Adeline and sisters as the sixth most popular girls’ name of 2016 when all spellings are combined and you have the major baby name trend for girls of the decade.

And this trend will undoubtedly burn brighter before it dims, given that it’s still largely invisible. The most popular form of the name, Adeline, is all the way down at number 63 on the new list of Top 1000 Baby Names, which means that many parents have no idea how widespread the name is.

Lee Names For Boys And Girls

Names that end in the ‘lee’ sound are booming for both girls and boys. Paislee is the third hottest girls’ name, 31 times as popular now as it was a decade ago, along with Blakely, 19 times more popular; Henley, 16 times; and Paisley, 15 times.

More surprising is the companion boom in boys’ names that end with the lee sound. Brantley is the second hottest name for boys, 27 times more popular than it was in 2006, along with Bentley, now 24 times more popular than in 2006; Finnley, 17 times; and Kingsley, 12 times.

Shooting Star Names

Hot young celebrities who manage to stay in the spotlight for more than a reality TV season or two can propel their names into major trends, the way Shirley Temple did in the 1930s or Debbie Reynolds did in the 1950s.

The hottest celebrity baby names of this decade are Isla, as in Fisher, with a 27 times increase in popularity; Leighton, as in Gossip Girl star Meester, up 20 times; Bristol, as in Palin, up 19 times; and Mila, as in Kunis, up 13 times.

On the boys’ side is Jayceon, with 31 times as many babies given that name in 2016 as in 2006. It’s inspired by rapper The Game, who pronounces his name jay-cee-on, though others pronounce the name as jay-son or jay-shawn, making it the perfect heir to former hottie Jason, with new nature name Juniper on the hot list for girls.

Superlative Names

Baby, your name is Legend ... literally. Names that tell the world how extraordinary your child is rule today. The name Legend is 18 times more popular for boys now than it was a decade ago, while Major and King are each up 12 times.

Girls are great too, with Royalty, the hottest girls’ name of 2016, up 58 times over its 2006 numbers, and Reign up 13 times.

Tragic Celebrity Surnames

The names of hallowed stars of the past are enjoying a new turn in the limelight as their tragic ends fade from memory.

Two celebrity surnames, Lennon and Monroe, are among the decade’s hottest names for girls, up 19 times and 13 times. The boys’ name that fits this category is Hendrix, as in rocker Jimi, 18 times more popular now than it was in 2006..

For the full list of the hottest names of the decade along with more trends, visit Nameberry.

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“I don’t think you get celebrated enough.”

This was Rihanna’s message to young people during her speech at the 69th annual Parsons School of Design benefit on Monday night. The pop star, wearing a pantsuit designed by a Parsons graduate, was there to be honored by the fashion school for her work as both a style icon and a humanitarian. 

The singer’s acceptance speech was directed at the students, and how they deserve much more credit for their contributions to the world than they receive. 

“You should be celebrated for every aspect of your growth and your growing pains,” Rihanna, who partnered with Donna Karan to lead a school fellowship program, said.  

“You should be celebrated for your creativity, for your fearlessness, for your persistence and determination. You should be celebrated for all the effort that you put into building your future, for being different, for not being given enough credit—for not having to use eye cream! My point is, we often tear our youth down when we should be building them up. At the end of the day, our future is in their hands.”

The singer gave a similarly inspiring message in March, when she accepted Harvard’s Humanitarian of the Year award, saying: “You don’t have to be rich to be a humanitarian, to help somebody. You don’t have to be famous. You don’t have to be college-educated.”

Later in the evening during the Parsons gala, Rihanna revealed the winner of the “Design Fellowship Program.” Through the program, three Parsons students will get the chance to work on a fashion merchandise line in Haiti for Rihanna’s Clara Lionel Foundation. 

Watch more excerpts from Rihanna’s speech above. 

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This is magic.

President Donald Trump attended the NATO summit in Brussels on Thursday, where he was filmed making a gesture that looks like he is pushing aside Montenegro’s Prime Minister Dusko Markovic in order to shove his way to the front of a crowd. 

The White House reportedly defended the gesture, calling it a “casual greeting” between leaders. But the video went viral on Twitter nonetheless.

It wasn’t long before Harry Potter author J.K. Rowling shared a GIF of the moment on Twitter, captioning it with the ultimate burn: “You tiny, tiny, tiny little man.”

Much like quidditch, Rowling has made slamming Trump and his supporters on Twitter into a sport.

Yesterday she also called out journalist and Fox contributor Laura Ingraham for the insensitive remarks she made about the Eiffel Tower going dark following the Manchester attacks.

Watch our for Rowling’s blasts, y’all! 

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HBO has renewed “Veep” and “Silicon Valley,” but the latter will lose one of its key stars. T.J. Miller, who plays incubator chief Erlich Bachman, isn’t returning after the current season ends. 

HBO released the following statement on Thursday: “The producers of ‘Silicon Valley’ and T.J. Miller have mutually agreed that T.J. will not return for season 5. In Erlich Bachman, T.J. has brought to life an unforgettable character, and while his presence on the show will be missed, we appreciate his contribution and look forward to future collaborations.”

Without further explanation, it’s reasonable to assume that Miller’s burgeoning film career contributed to his decision to exit the show after four seasons. If so, he’ll find himself in mixed company: George Clooney (”ER”), Shelley Long (”Cheers”), Katherine Heigl (”Grey’s Anatomy”) and Dan Stevens (”Downton Abbey”) are among the actors who’ve abandoned series for big-screen pursuits. After Miller’s HBO stand-up special premieres June 17, he will voice the lead character in “The Emoji Movie.” Next year, he’ll appear in Steven Spielberg’s much-anticipated adaptation of “Ready Player One.” He’s also expected to have a bigger role in the “Deadpool” sequel. 

It’s unclear whether the “Silicon Valley” season finale, which airs June 25, will address Miller’s departure. (”This is all the info we have to share now,” an HBO rep told HuffPost when asked.) The rest of the cast is expected to return to the show, whose overnight ratings have dipped now that “Game of Thrones” isn’t airing as its lead-in.

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Luis Fonsi’s “Despacito” became the No. 1 song in the country last week, a feat that hasn’t been achieved by a Spanish-language song since the “Macarena” in 1996.

The hit’s original version features reggeaton superstar Daddy Yankee. But in April, Justin Bieber decided to join the worldwide phenomenon and collaborated on a remix that quickly climbed the U.S. charts. 

Bieber sings in Spanish for the first time on the track, and Fonsi said the Canadian artist learned the lyrics phonetically in less than a week. The Spanish lyrics didn’t seem to stick, however, as the singer appeared to forget all the words to the song during a New York City club performance on Tuesday.

We get it, “Despacito” can be challenging for non-Spanish speakers. That’s why HuffPost Latino Voices is giving English-speaking fans a quick lyric guide. 

Here’s a rough translation of what the No. 1 song in the country is actually talking about. And yes, we’re using the lyrics from the original version. 

“Despacito” or “Slowly” 

Fonsi:

Sí, sabes que ya llevo un rato mirándote,
Tengo que bailar contigo hoy.
Vi que tu mirada ya estaba llamándome,
Muéstrame el camino que yo voy.

Yes, you know I’ve been looking at you for a while,

I have to dance with you today.

I saw that your look was already calling me,

show me the way and I’ll go. 

¡Oh!
Tú, tú eres el imán y yo soy el metal.
Me voy acercando y voy armando el plan,
sólo con pensarlo se acelera el pulso.
Ya, ya me está gustando más de lo normal.
Todos mis sentidos van pidiendo más,
Esto hay que tomarlo sin ningún apuro.

Oh!

You, you’re the magnet and I’m the metal.

I’m getting closer and coming up with a plan,

just thinking about it accelerates my pulse.

I’m already enjoying it more than normal.

All of my senses are asking for more,

this has to be done without a hurry.

[Chorus]
Despacito
Quiero respirar tu cuello despacito.
Deja que te diga cosas al oído,
para que te acuerdes si no estás conmigo.
Despacito
Quiero desnudarte a besos despacito.
Firmar en las paredes de tu laberinto
y hacer de tu cuerpo todo un manuscrito

Quiero ver bailar tu pelo, quiero ser tu ritmo
Que le enseñes a mi boca, tus lugares favoritos.
Déjame sobrepasar tus zonas de peligro,
hasta provocar tus gritos
y que olvides tu apellido

[Chorus]
Slowly

I want to breathe your neck slowly.

Let me whisper things in your ear,

that you’ll remember when you’re not with me.

Slowly

I want to undress you with kisses slowly.

Sign the walls of your labyrinth

and turn your body into a manuscript.  

I want to see your hair dance, I want to be your rhythm

I want you to show my mouth your favorite places.

Let me surpass your danger zone,

until it makes you scream

and makes you forget your last name. 

Daddy Yankee:

Si te pido un beso, ven, dámelo. Yo sé que estás pensándolo.
Llevo tiempo intentándolo, mami, esto es dando y dándolo.
Sabes que tu corazón conmigo te hace bam-bam.
Sabes que esa beba está buscando de mi bam-bam.
Ven, prueba de mi boca para ver cómo te sabe.
Quiero, quiero, quiero ver cuánto amor a ti te cabe.
Yo no tengo prisa, yo me quiero dar el viaje.
Empezamos lento, después salvaje.

Pasito a pasito, suave suavecito.
Nos vamos pegando, poquito a poquito.
Cuando tú me besas con esa destreza
veo que eres malicia con delicadeza.
Pasito a pasito, suave suavecito.
Nos vamos pegando, poquito a poquito.
Y es que esa belleza es un rompecabezas,
pero pa’ montarlo aquí tengo la pieza.
¡Oye!

If I ask you for a kiss, come on, give it to me. I know you’re thinking about it.

I’ve spent a while trying, mami, this is give and giving.

You know your heart with me goes bam-bam.

You know what this babe wants from me is bam-bam.

Come, taste my mouth to see how it tastes to you.

I want, want, want to see how much love fits in you.

I’m in no rush, I want to take the ride.

We’ll start slow and then go wild. 

Step by step, gentle gently.

We’ll get closer, little by little. 
When you kiss me with that skill,

I see that you are malice with finesse. 

Step by step, gentle gently.

We’ll get closer, little by little.
This beauty is a puzzle,

but to put it together I have the piece. 
Oye!

[CHORUS, 2x]

Luis Fonsi:
Despacito
Vamo’ a hacerlo en una playa en Puerto Rico,
hasta que las olas griten “¡Ay, Bendito!”
para que mi sello se quede contigo.
¡Bailalo!

Slowly

We’re going to do it on a beach in Puerto Rico,

until the waves scream “Oh, Lord!”

so that my seal [likely meaning mark or impression] stays with you.

Dance!

OK, now you’re ready to sing along with Fonsi and D.Y.!

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With graduation season in full swing, immigrant graduates and children of immigrants across the country are reflecting on the roads and people who led them to where they are today.

Last week, Define American ― a non-profit media and culture organization― partnered with Undocumedia to put out a call on social media encouraging graduates from immigrant families to share their personal stories using #ImmiGrad. The class of 2017 quickly obliged, posting sweet photos, touching anecdotes and heartwarming messages thanking their parents for their support, dedication and love.

Grab a box of tissues, and check out some of their posts below. 

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Ivanka Trump and Jared Kushner have quite the formidable art collection, featuring works by big contemporary names like Christopher Wool, Dan Colen, Alex Israel and Alex Da Corte. Yet, according to artnet News, Kushner, who is currently serving as President Donald Trump’s senior advisor, did not report the multimillion-dollar cache in his required financial disclosures.

A lawyer advising Kushner attributed his pricey omission to the fact that the wife-and-husband duo collect art for pleasure, not business. “Mr. Kushner and Ms. Trump display their art for decorative purposes and have made only a single sale,”  the lawyer said in a statement issued by the White House. Still, other members of Trump’s cabinet including Commerce Secretary Wilbur Ross and Treasury Secretary Steven Mnuchin, did disclose their sizable art collections.

This is not the first time Kushner has been outed for failing to be transparent about his financial assets. But now that the blunder has been noticed ― and widely publicized ― he plans to report the collection to “avoid any doubt.” The White House gave no indication as to when this new disclosure would be released. 

The official rules regarding financial disclosure for federal employees are somewhat nebulous in that they differentiate art that is simply for decoration from art that serves as a business investment. According to the Office of Government Ethics, if the art is intended for investment purposes and is worth more than $1,000, it should be disclosed. 

Ivanka Trump and Kushner’s haul is certainly worth far more than $1,000; works by Da Corte and Colen are worth around half a million each. But how do you tell if an artwork is indeed “an investment”? One indication, as ethics lawyer Robert Walker told artnet, is whether or not a collector frequently buys and sells their work.

Kushner has sold only a single artwork, which doesn’t quite qualify as “regular activity.” As Walker put it: “A single sale does not necessarily mean that Kushner will need to disclose his art assets.”

Complicating this conclusion, however, is the fact that Trump herself described art as an investment in a 2015 article called “How to Start Collecting Art,” published on her website. “Think of art as an investment,” she advised readers, leaving little room to read between the lines.

Trump, who is technically covered by Kushner’s disclosures as his wife, also frequently posts photos of her pricey pieces on Instagram, where they help cultivate her carefully curated image of #refined #sophistication. 

Occasionally, artists who’ve spotted their work online have spoken out, less than keen on being associated with the Trump legacy in any way.  Da Corte, for example, kindly requested: “Dear @Ivankatrump please get my work off of your walls. I am embarrassed to be seen with you.”

Furthermore, the First Daughter’s art-centric posts are not just humble brags, they’re good business, making Kushner’s financial omission seem all the more dubious. Trump will often juxtapose images of contemporary art with pieces from her clothing brand, arguably using the artwork’s repute to influence her own products’ character for personal gain. You know what makes a fancy purse look even fancier? A half-million dollar painting, that’s what. 

Because of the prospect that their work will somehow benefit Ivanka Trump’s brand, and thereby Donald Trump’s agenda, artists have been desperately trying to detach themselves from any and all Trump ties. An artist-led campaign called “Dear Ivanka” has continuously led protests online and in person.

As art dealer Bill Powers put it: “I think there are a lot of artists that are uncomfortable now being incorporated, or leveraged, as part of the Ivanka Trump brand.” 

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These Pokémon come from a land down under.

Pixel art designer Paul Robertson has created 151 Australian-themed characters — and each and everyone of them is a real beaut.

Robertson shared his own antipodean take on the Pokedex to Twitter late Thursday. Our favorite? The “Stubbee” beer bottle creature. (A “stubby” is Australian slang for “beer bottle.”)

Check out all of his characters here: 

HuffPost has reached out for further information to find out why Robertson decided to create his own army of Aussie-style characters. 

What is clear, however, is that fellow Twitter users are absolutely in love with his efforts:

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Warning: This article contains nudity and may not be appropriate for work. 

”What I remember is laying on the bathroom floor,” Brooklyn-based artist Rowan Renee wrote in 2015. “I might be four, or five, or six years old. It was always in the bathroom.” 

As a child, Renee, who is gender non-binary, was abused and molested by their father. Renee’s mother and grandmother were also victims of sexual assault. “Is this story not yet tired of rewriting itself?” Renee continued. “Obedient daughters and wives. Women taught that to speak out means to be shunned, brutalized or killed. Women taught to hate their bodies as much as the people who ravage them ... Women who are abused and set out to find what lays beyond it, like me.”

Renee’s father was eventually convicted of lewd and lascivious battery of a 13-year-old boy and sentenced to 15 years in prison. He died while incarcerated. Five years after his death, Renee began to explore the physical and psychological traces years of incest and abuse left behind, using their camera as a guide. 

For the series “Bodies of Wood,” Renee photographed their partially nude body in various positions of power and submission, tension and release. In one image, Renee sits naked on a kitchen counter alongside a sink, clutching the edges of a stained glass window. The dilapidated domestic space surrounding them recalls the work of Francesca Woodman, whose photos explore how women’s bodies can simultaneously evoke presence and absence.

In another, Renee again lies naked amongst fragments of splintered wood, their face shielded from view. The image is reminiscent of the spirit of Cuban artist Ana Mendieta, who placed her body in nature in order to envelop herself in the primordial elements of the universe ― responsible for the life and death of all things. 

Mendieta’s spirit looms over Renee’s project. As a woman who was subjected to violence at the hands of a man she loved, Mendieta plummeted to her death at 33 years old, after falling from the window of the apartment she shared with her husband, artist Carl Andre. Andre, who was heard fighting with Mendieta just before her death, and was found with scrapes across his face afterward, was charged and eventually acquitted of her murder.

“Women who are thrown out of windows, like Ana Mendieta,” Renee wrote. 

With their series, named after a Carl Andre quotation, Renee reclaims their body, formerly a site of pain, imbuing it with the potential to experience pleasure. In the process, Renee proves a nude photography subject is neither vulnerable or powerless by default, giving their body a tangled mess of agency, rage, forgiveness and desire. 

Read HuffPost’s interview with Renee below. 

This series grapples with brutal violence within a family unit. Can you talk about your decision to address these issues in an abstract visual language? Why did you opt away from more direct representation?

One of the questions I often ask myself is: How do we represent violence without perpetuating it? While incest is a particularly brutal kind of violence, I don’t think the brutal moments are actually the most effective to represent it. For one, depictions of brutality are always at risk of being fetishized. And if not fetishization, they still elicit such strong reactions that they can eclipse the nuance and the deep contradictions that pervade the violence that occurs within the family.

Brutality is the sensationalized moment, but it’s only the beginning. For me, it was more important to focus on subtle, unsettling and deeply psychological responses. There’s a profound realness to the way trauma stays with us long after the traumatic circumstances are over. In that sense, I wouldn’t say my images are abstract. They reflect the longer acting and quieter aspects of trauma that do not typically hold the audience’s attention in mainstream representations.

How did you decide to incorporate your own body into the images? How do you see the relationship between memory and the body?

In the historical role of testimony, brutality is difficult to communicate to people who have never experienced it. My body was essential to this project because no one else can testify to my experiences. Trauma survivors often talk about how memories come up first as physical responses. When people experience trauma they enter a dissociative state. If the trauma is chronic, dissociation becomes a daily survival mechanism that can literally reshape the neural pathways of the brain.

That’s all to say that the relationship between memory and body is a complicated one. The body may communicate things the mind is not ready to consciously accept. The mind may physiologically change in response chronic abuse and begin to see the world differently. Sometimes the process of externalizing memory, in writing or in image, becomes a process of witnessing one’s own memory. Distance can be a space to build compassion for one’s own experience.

What do the words “Bodies of Wood” mean to you?

“Bodies of Wood” is a quote from Carl Andre about sculpture. He says: “Wood is the mother of all matter. Like all women hacked and ravaged by men, she renews herself by giving, gives herself by renewing.” Andre is also believed to have murdered his wife and artist Ana Mendieta, although he was acquitted of the crime. I mention Andre and Mendieta in the zine/personal essay that accompanies “Bodies of Wood,” and I basically call out Andre’s words as a hollow fantasy that men use to justify violence in aesthetic terms. The zine was how I brought a more literal narrative about my childhood in relation to the imagery. [Editor’s Note: The zine can be read here.]

Where are these images shot? What drew you to these spaces?

All of the images were shot during a five-week artist residency on a houseboat in Sausalito, California, called the VAR Program. The boat used to belong to Alan Watts and Agnes Varda, and was decked out with much of the original decor. I often worked on the boat because it was so strange and evocative, interacting with particular areas or pieces of architecture that resonated with me. Other times I went for meandering bike rides along the Marin Coastal Reserve. The outdoor shoots were much riskier, because they inevitably involved me taking off my clothes while alone in the woods, often very close to active trails.

There’s one image that I took in a parking lot on the way back from one of my walks. It had been raining and the sun broke through the clouds in a beautiful way. After some deliberation I decided to do it, but I would leave my underwear on. There’s obviously a bit of fantasy in that logic. Of course I know that underwear would do little to protect me from an awkward encounter or a physical threat. But, I think the actual precariousness of my body was necessary to capture that feeling in the image.

You describe your photographs as “solitary performances for the camera.” What does this mean to you and how does it differ from sitting for a portrait?

When I talk about my process for producing these images, I often describe being in dialogue with both the camera and my unconscious. I didn’t think of the process purely in terms of constructing an image. Instead, I think about channeling a specific moment, place, and state of mind. In the language of “mindfulness,” I sought to capture a moment of total presence.

The photos also deal explore tensions related to gender-based violence and victimhood. How does posing nude for the camera, a traditionally feminine and submissive role, feel for you? Do you find it objectifying, empowering, healing? What is the relationship between subject and victim, in your opinion?

Working with the nude female form in these images is a sleight of hand. The context of incest adds conflict to the desirability of the body in the minds of most viewers. They are confronted with the discomfort of having to hold two opposing truths, that the body shown has been violated and is speaking openly about violation, and the body shown is desirable. And I think that speaks more accurately to the aftermath of trauma.

Victimhood has a way of removing agency from individuals and pathologizing adverse experiences, setting victims of sexual violence into a category where they are meant to unfairly carry the burden of shame, and are expected to be “broken” by their experiences. I don’t think of my body as submissive in these images, I think of it as confrontational, transgressing the taboos that would rather not see me or acknowledge the resilience, strength, and empowerment that can be claimed from the position of “victim.”

In a statement, Aperture described how the images represent a journey to rediscover pleasure after violence and trauma. How, if at all, did creating these works affect your relationship to physical pleasure?

Through “Bodies of Wood” I began to understand what it means to experience artistic inspiration. Something happened where I became uninhibited and was able to tap into a fundamental life force. While I was working on “Bodies of Wood,” I felt a profound joy. That feeling was connected to the feeling of freedom. But it also was connected to the feeling of my craft. I had developed a fluency at making images, and I could wield it with power and confidence. The experience of creative genesis was a source of pleasure in this project. Being able to access that part of me builds wellsprings in every other aspect of my life.

Creative expression is often associated with therapy and healing. Was creating this work a therapeutic process? If not, how would you describe its effect psychologically?

There have been many therapeutic aspects to making this work, but I think the one with the most implications for social change is the process of breaking the silence. The taboo in our society is not the incestuous act — it’s common and the perpetrators are frequently protected from consequence. The taboo is talking about it. As long as incest is something that cannot be openly discussed, we will see this kind of violence continue to be used as a tool to control behavior and dominate.

Can you share a reaction to the series, whether positive or negative, that stood out to you?

As part of the weekend-long program at Aperture, we collaborated with The Voices and Faces Project to host a testimonial writing workshop for survivors of gender-based violence and other human rights abuses. One of the writing exercises was to look at “Bodies of Wood” and react to a single image with a piece of writing. Hearing the participants’ stories was like witnessing creative genesis.

It was also an exercise in relinquishing control of interpretation. I was surprised at how the writers in the workshop landed so close to my original inspirations, while still inflecting the images with their own experience. It was as if the images had tapped into the collective unconscious and that was legible in people’s responses.

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

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Six months after Donald Trump was elected the 45th president of the United States, it feels as if America has never been more obsessed with late-night political comedy.  

A willingness to wade ever deeper into political waters has been widely credited for ratings success: Stephen Colbert beat out former late-night king Jimmy Fallon, a happily apolitical host, in total viewers this season largely by attacking the president. Meanwhile, Season 42 of “Saturday Night Live” enjoyed a 23-year ratings high with Melissa McCarthy’s role as Sean Spicer, Kate McKinnon’s turn as Kellyanne Conway and Alec Baldwin’s spot-on Trump.

But as biting as it can be, the humor of “SNL” and “The Late Show” probably isn’t changing any minds.

If anything, the country’s love affair with political comedy may actually be deepening the divides that characterized the 2016 presidential election, according to one researcher.

To Heather LaMarre, who studies politics in entertainment media at Temple University, the Trump jokes and satire that flood social media are nothing new. What’s different about the past several months has been the environment those jokes are landing in. Trump, unlike many of his presidential predecessors, is responding ― loudly and with anger.

Whereas public figures might have ignored comedians in the past, or been good sports and gone along with the jabs, Trump has gone the opposite route, attacking comics over Twitter. His repeated comments have wedged a line: You are either with Trump, and against late-night, or with late-night, and against Trump. That can make Americans just a little bit curious to see what all the fuss is about, driving up ratings to shows.

But in such an aggressive environment, no one softens enough to allow themselves to be persuaded. They just dig their heels into previously held attitudes, meaning conservative and liberal viewers likely turn from the latest “SNL” skit or Seth Meyers monologue with different takes.

“The people who were already anti-Trump are going to become more anti-Trump, and the people who are pro-Trump are not going to walk away from him just because of something a political comedian said,” LaMarre said.

She then added, “Especially if they think of that comedian as a Hollywood elite.”

Despite being a former reality TV star, Trump routinely separates himself from Hollywood, and many of his public lashings out have revolved around a theme of victimization by such elites and the press that cover them.

LaMarre argues that Trump has aligned late-night comedians even more closely with Hollywood celebrities and the press ― groups he does not like ― by attacking them on Twitter or elsewhere. Doing so “raises this automatic reaction among anybody who maybe doesn’t like the press, or doesn’t like Hollywood’s influence in politics, which largely is the conservative base in America,” she said. 

For more liberal viewers, late-night shows offer a feeling of catharsis as their beliefs are articulated and reinforced. 

“Political entertainment provides a release valve,” LaMarre said.

At least one host sees that as his precise purpose ― as “an emotional release valve” ― and certainly doesn’t have grand ideas about his impact on the American political landscape.

“We’re not actually affecting the world,” Colbert told an audience at New York’s Vulture Festival on Saturday, asked whether he ever felt as if his show wasn’t making a difference. “It’s an art in that we’re an emotional effect on the audience, but we don’t affect the world of policy that much.”

“The truth of it is that you’re shouting into an Altoid tin and throwing it off an overpass,” the host said of his ability to influence politics.

LaMarre laughed at that characterization, countering that even if it’s not changing the world, late-night TV can be “very enjoyable and entertaining for people.”

“It can have a lot of emotional benefit even if it doesn’t have a politically persuasive outcome,” she said.

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For a generation of ballerinas, Wendy Whelan was a walking goddess. The former New York City Ballet principal dancer joined the company at 17, and was quickly singled out for promotion and praise. She served as a muse for multiple then-up-and-coming choreographers and would go on to have more new ballets made for her than any other dancer in the company’s history. She became the defining American ballerina of her generation.

All the while, she says in a new documentary, she was asking herself, “What the fuck is it going to be like when I can’t do this any more?”

In 2013, she found out.

At the time, Whelan was 46 years old, which is all but ancient by ballerina standards. Ballet is so punishing on the body, and the standard demanded by top companies so high, that most women peak by their 30th birthdays and retire not long after. When Misty Copeland was promoted to the top rank of American Ballet Theater in 2015, it was a bittersweet moment: she’d been promoted at last, but at the age of 32, she probably didn’t have many dancing years left in her. Whelan, whose professional ballet career lasted three decades, was truly an anomaly, a ballet institution who outlasted some of her younger colleagues by years.

By 46, she noticed that she was being cast in fewer ballets, including, to her chagrin, the iconic Nutcracker, in which she’d been dancing the role of the Sugarplum Fairy for years. Her boss, Ballet Master Peter Martins, hinted that it might be time for her to move on. And then, her hip started hurting.

The documentary “Wendy Whelan: Restless Creature” finds Whelan preparing for surgery to repair a labral tear, which has made even walking across the stage an agony. She travels to Vail, Colorado, and puts herself in the hands of one of the world’s best hip surgeons, whose walls are covered in the jerseys of the pro athletes he’s treated. This is the man people see when they need to get back in the game, she explains. She needs to do just that, she says, especially since “I don’t have a ton of time left at my game.”

”Restless Creature” shows us Whelan’s recovery from the surgery (after first showing us the surgery itself, in rather gruesome detail), and her return to New York to contemplate what comes after ballet. She gets off crutches, returns to the ballet studio and begins to branch out into contemporary dance, hoping that it will be less brutal on her body. But it soon becomes clear that her body can’t take a return to ballet in addition to her ambitious plan to create a contemporary dance program and tour it all over the country. She has to focus on ballet for what little time she has left before retirement becomes inevitable.

Throughout the film, Whelan consults her former colleagues, all of whom have already retired. She asks them: How did you do this? How did you walk away from the only job you’ve ever had, the thing you’ve been working toward almost since you could walk? Who are you when you’re a ballerina who can’t do ballet any more?

Career paths out of ballet are notoriously narrow. Dancers usually skip college, and even the end of high school, to devote themselves to dancing in their late teens and early 20s, which means that when they retire from dancing, they’re out in the job market without an entry-level degree. Some dancers go on to teach or coach, and some to choreograph, though the latter path is often even less stable, predictable or lucrative than being a dancer. Some go into ballet-adjacent work, like dance photography. Some will be picked to run companies; Pacific Northwest Ballet, Miami City Ballet, Washington Ballet and Pennsylvania Ballet are all run by alumni of the New York City Ballet or American Ballet Theater. But there are only so many ballet companies to run, and turnover at the top can be infrequent.

Besides, as Whelan explains in the film, she hadn’t made a plan for her post-ballet life; while some of her colleagues were setting themselves up for the next step, she was busy just ... dancing.

At its core, “Restless Creature” is a film about grief. We watch as Whelan comes to the realization that her career is ending; that she’ll soon lose the structure of morning class and rehearsal and performance that have defined her days for decades; that she’ll leave behind a large piece of herself, and her identity, when she leaves the Lincoln Center stage for the last time. She moves through the stages of grieving, showing the camera very little anger, and the film ends with her farewell performance in October 2014, which featured yet more new works made just for her.

Now, she’s “really close to the end” of that grieving process, she told HuffPost in a phone interview. She didn’t go to the ballet for a while after she retired, but, she says, now she can go “and not feel pangs in the same way. I’m really happy about that. I can watch works that were made for me and feel a separation, and I’m really glad about that.”

She’s still performing. Her collaboration with the cadre of contemporary choreographers she assembled at the end of her time at City Ballet has toured around the country, and she opened the Joyce Theater’s spring season this year. She’s started coaching other dancers, and recently set a piece by Alexei Ratmansky with Pacific Northwest Ballet — meaning, she learned every step and movement of the ballet and then taught them all to the dancers at that company.

In her new life as a contemporary dancer, she says, her body and her mind have begun working differently. “I’ve let my body soften,” she says. “I’ve let it relax. There’s a lot of anxiety in the ballet world and nervousness,” but in contemporary dance, she feels more grounded. “There’s this calmness that I didn’t have in ballet because I was always up so high on my toes. For me there’s a parallel between how I was dancing and how I was feeling.” After decades of sewing ribbons onto pointe shoes every night, she now rehearses in socks, or bare feet, or canvas ballet flats.

Her new role allows her far more artistic control than she had as a ballerina. She chooses who choreographs on her, she designs programs, she wields far more power than she could as a dancer — something most ballerinas never get to experience before or after they retire. It took some getting used to. “I was so comfortable with my ballet power, my dancer power, that to have a voice, the comfort with having a voice, is slower to come to me,” she says. “I’ve always had a point of view, but to be in the front of the room, I didn’t move into a front of the room position until I retired, and that was really slow. “ While contemporary dance sees more women at the front of the room — running rehearsals instead of dancing in them — than classical ballet does, there’s still an enormous gender imbalance. Most dance companies are run by men, and most choreographers (even those with whom Whelan now collaborates) are men.

Above all, Whelan doesn’t plan to stop dancing, even if she’s not dancing ballet anymore. After she retired, she had a full hip replacement, which she says left her totally pain-free. She says that good genes and “great energy” in her family gave her a body that took easily to dance and was able to keep dancing long after most people have to stop, “a lucky body, not a great body.”

Still, she’s no longer on the regimented rehearsal schedule of a principal ballerina, and when asked what she most misses and least misses, she answers both questions the same way: “I really miss dancing all day long,” she says. “But something I really love is not dancing all day long. I love that I can’t rely on dancing all day long to stay creative.” After the heartbreak of leaving her old self behind, she’s found that she didn’t need it as much as she thought, or feared.

As for the beautiful and cruel ballet slippers that she put on her feet every day for almost 40 years, the bodily extensions that are synonymous with the ballerina, does she miss those? “Sometimes I miss being en pointe, but not a whole lot,” she says. “Every once and a while I would love to float for a minute on a shoe. But for the most part, I did it long enough that it’s OK.”

”Wendy Whelan: Restless Creature” is currently screening in New York City and opens in Los Angeles on June 9th. Find a screening near you.

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It’s not every day you can lead a chant of your own name. 

In fact, don’t do that. That should never happen. The one exception is if your name is Ryan and you’re breaking the Plinko record. 

On Thursday’s episode of “The Price is Right,” contestant Ryan Belz got the chance to play Plinko, and the guy made the most of it. The contestant’s chips landed in the $10,000 slot three times, and he ended up with a total of $31,500.

For those who don’t know “Price is Right” history off the top of your head, host Drew Carey said that’s a new Plinko record.

And Belz lost his mind the whole time.

If you weren’t aware, Belz is somewhat of a “Price is Right” fan. You know, somewhat ...

In a video on TMZ, the contestant said he’s such a fanatic of the show that he scheduled his classes at Penn State around “Price is Right” so he could watch. Belz even has an impression of the “Price is Right” announcer George Gray.

He said he’s not allowed to appear on the show for another 10 years now, but added, “10 years, mark my word, you know where I’ll be.”

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