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ENTERTAINMENT NEWS

  • Friend Of Late ‘Toy Story’ Writer Reveals Andy’s Heartbreaking Backstory

    Two days after the friend of a late “Toy Story” writer revealed a previously untold and devastating story about Andy’s dad, another Pixar writer lashed out on Twitter calling it “utterly” false.


    Let’s back up. This week, YouTuber Jonathan Carlin of Super Carlin Brothers published his video interview with Mike Mozart, a toy designer who was friends with Joe Ranft, the Pixar head writer who co-wrote “Toy Story.” 


    According to Carlin’s interview, which went viral this week, Mozart said Ranft had revealed to him why Andy’s dad was suspiciously absent from the film over lunch. Mozart told HuffPost that he had met Ranft through his work in toy design. Their conversation about Andy’s backstory took place over a decade ago, he said, before Ranft died in 2005.


    Andrew Stanton, who was on the writing staff with Ranft for the first two “Toy Story” films, debunked the alleged backstory on Twitter Saturday with a simple hashtag that claimed, ”#Iwasthere.”






    Ranft’s story, as Mozart recalled to Carlin, goes like this: Andy’s father is also named Andy. He was the original owner of the Woody doll. As a kid, Andy Sr. was poor, bullied and a huge fan of the TV show “Woody’s Roundup.” He was also the only kid in the world who had Woody, which he received after writing a letter to a cereal company, because the doll was the sole prototype of a marketing gimmick that had been cut short after Woody’s TV show was cancelled. (This theory would explain why Woody was considered so rare in the sequel.)


    Then, Andy Sr. contracted polio and nearly all of his toys ― except for Woody, Slinky and Mr. Potato Head ― were burned as a result. He eventually recovered from the disease, grew up, got married and had a son who he named after himself. Later in life, Andy Sr. was diagnosed with a fatal case of post-polio syndrome. On his deathbed, Andy Sr. asked his son to retrieve a chest from the attic. By the time Andy Jr. returned with the chest, his father had already died.


    Andy Jr. opened the chest with a key left to him by his father after the funeral. Inside was Mr. Potato Head, Slink and, of course, Woody.






    The video of Mozart and Carlin went viral and eventually caught the attention of Stanton.


    Stanton on Saturday refuted Mozart’s claim that Ranft had a secret backstory by tweeting a link to a news article about Mozart’s interview and calling it, “Complete and utter fake news.” However, Stanton’s tweet did not specify what was fake about the interview and representatives for Stanton and Pixar did not immediately return HuffPost’s request for clarification. 


    Mozart, for his part, stands by the retelling of his conversation with Ranft.


    “It’s not a theory,” Mozart told HuffPost. “The story is as told to me by Joe Ranft about 12 to 14 years ago over lunch.” 


    Mozart said that Ranft was so animated and passionate when detailing Andy’s dad’s life that he believed the Pixar writer had created the storyline, at least in his head, for a good deal of time.


    When asked if he was upset by Stanton’s tweet, Mozart said no, adding that Stanton “never said [Ranft’s story for Andy’s dad] was a lie.”


    And while Ranft is unfortunately unable to back up Mozart’s claim, one thing is certain: That backstory for Andy is truly heartbreaking.


    Watch Carlin’s full video with Mozart below.




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

  • Jennifer Lopez Is Returning To Rom-Coms With 'Second Act'





    Jennifer Lopez will do a little bit of reinventing for her upcoming romantic comedy.


    The singer and actress is set to star and produce STXFilms’s film “Second Act,” The Wrap announced on Thursday. Lopez also shared the news on Instagram with a caption that simply read: “Surprise!”



    A post shared by Jennifer Lopez (@jlo) on




    The rom-com is set to follow a big-box employee who reinvents herself and later gets the opportunity to show Madison Avenue the value of street smarts, according to several trade publications.  


    “When Jennifer, Elaine [Goldsmith-Thomas] and Justin [Zackham] came to us with this idea, we loved it right away,” STXfilms chairman, Adam Fogelson, told The Wrap. “The premise of reinventing yourself and creating a career and life-defining second act is hugely relatable and aspirational.”


    Fogelson also emphasized STXfilm’s mission to grow their portfolio of female-driven projects. 


    Lopez is no stranger to romantic comedies, having starred in films like “The Wedding Planner,” “Maid in Manhattan” and “Monster-In-Law” in the early 2000s. But she expressed excitement about bringing this new story to life.


    “There are so many things I love about this project and script,” Lopez said about the film in a statement, according to The Hollywood Reporter. “People try to put women to sleep at a certain age. “Second Act” is a story that empowers the every-woman to do more, to be more, and not limit their dreams.”


    The film is set to be directed by Peter Segal (“50 First Dates”) and currently has no release date. 


    Lopez most recently flexed her crime and thriller muscle on the silver screen with the 2015 films “Lila & Eve” and “The Boy Next Door,” the latter of which garnered $15 million at the box office during opening weekend despite its $4 million production budget.

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

  • In Vintage Clip, RuPaul Explains How He Became A Drag Queen 'By Accident'





    RuPaul may be one of the country’s best known drag queens, but the show biz veteran has said that drag wasn’t always in the plans when he envisioned his path to stardom.


    It’s a point RuPaul made more than 20 years ago when he appeared as a guest on “The Oprah Winfrey Show” in 1995. While he’d fully embraced his uniqueness, RuPaul had assumed he would follow a well-trodden path to fame when he was young ― through the mainstream media.


    “I always wanted to be a star ever since I was a little drag queen growing up in Georgia,” he told Oprah back then.


    So, RuPaul began taking acting classes. Then, when he was 21, the budding entertainer wrote into a public access variety show. Appearing on free-spirited “The American Music Show” was RuPaul’s television debut, and he was hooked. Emerging on the drag scene, however, still wasn’t top of mind at the time.


    “The drag thing, so, it really happened by accident,” RuPaul said. “I was doing punk and I’d had a mohawk and I’d play with makeup and stuff. Then, some people on a lark said, ‘Why don’t you do drag and see what it looks like?’”


    As RuPaul quickly discovered, switching from his punk rock style to drag-queen glam drew rave reviews. “Honey. The reaction I got from people was amazing,” he said. “I couldn’t believe it!”


    As RuPaul experimented with his identity, he found not just success ― he’s the charismatic host of the award-winning “RuPaul’s Drag Race,” after all ― but he also found more of himself.


    “It’s a lot of fun,” he said of dressing in drag. “I think everybody ought to get in some type of drag... It brings out different aspects of your personality. And I think when you’re on this planet, in this lifetime, it’s important to try different things. Life is a banquet and most people are starving to death.” 


    For more “Oprah Show” throwbacks and new OWN highlights, sign up for the This Week on OWN Newsletter.

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

  • DeMario Jackson Reportedly Ditching 'Bachelor In Paradise' After Scandal





    2017 hasn’t been reality TV star DeMario Jackson’s year.


    In the span of a single month, he was exposed as a liar on national television, found himself at the center of a scandal that shut down production of “Bachelor in Paradise,” and inadvertently jumpstarted a conversation about consent and reality TV. 


    Now, he’s reportedly not returning as a contestant on the dating show, multiple outlets report, after an investigation led by Warner Bros. concluded there was no misconduct during filming. Jackson was reportedly invited back to “Paradise,” but declined the offer. 


    He believes “it’s not a good idea” to join the rest of the cast in Mexico for the upcoming fourth season of “Bachelor in Paradise,” according to a CNN source.


    Jackson has also apparently entered therapy for his anxiety in the wake of the scandal, TMZ reports, and has no plans to return to reality TV anytime soon. 


    His search for love took a unexpected turn in June when a producer reportedly filed a complaint about a possible sexual assault, involving the 30-year-old and fellow contestant Corinne Olympios. In the days following the incident, both have released conflicting statements about the night in question.


    While the official investigation into allegations of misconduct found no evidence of wrongdoing on Jackson’s part, Olympios and her team are committed to pursuing their own investigation into the matter. 


    Warner Bros. had no comment on casting, but HuffPost reached out to ABC and will update this post accordingly. 

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

  • Sarah Michelle Gellar's Birthday Post For Selma Blair Is Perfectly Nostalgic

    Sarah Michelle Gellar sure knows how to make an Instagram birthday post count. 


    The actress posted a series of photos on the app in honor of her friend and fellow actress Selma Blair’s birthday, and in short, they’re amazing. They’ve also got us feeling nostalgic. 


    The first was a still from the film “Cruel Intentions,” in which the two stars shared a memorable kiss, then there’s a snap of the two kissing on the red carpet at the 2000 MTV Movie Awards, where they won the “Best Kiss” award for that famous lip lock. The third photo shows the two accepting their awards on stage, reenacting their kiss once again, and the fourth photo is yet another kissing pic. 


    “For my #flashbackfriday I want to send birthday to my favorite birthday girl @therealselmablair ....so Selma.....kissing burns 6.4 calories a minute. Want to workout?!? ” Gellar captioned the post. 






    Gellar’s post is great for several reasons — it’s a solid flashback that makes us want to watch “Cruel Intentions” over again and a sweet birthday message all wrapped in one. 


    We’d say she slayed this one. 

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

  • Jessica Biel's Too-Real Instagram Sums Up The Life Of A Working Mom

    Jessica Biel is living that working mom life, and she’s not afraid to show it.


    The actress and her husband, Justin Timberlake, have a 2-year-old son named Silas, and they both juggle parenthood with their careers in entertainment. 


    On Thursday, Biel posted a photo on Instagram that summed up the exhaustion of raising a toddler while working outside the home.



    A post shared by Jessica Biel (@jessicabiel) on




    “SPOTTED! In her natural state, notice the slack jaw, deep sleep and palpable fatigue of this creature. Yes, it is a working mom,” she captioned the photo. 


    Biel’s Instagram received over 85,000 likes, and the comments section is filled with positive responses from working parents. 


    “I feel your pain, fellow mommy,” wrote one commenter. “Thank you for being so relatable to the everyday working mom it is so truly appreciated!” added another. 


    The actress has been candid about the chaos of working motherhood on social media in the past.



    A post shared by Jessica Biel (@jessicabiel) on




    In September, she posted a photo of a plate, fork and cup of coffee in the shower. “Yes. I eat in the shower. I admit it,” she wrote in the caption. “Chicken apple sausage and espresso. Try it. I dare you.”


    Appearing on “The Tonight Show Starring Jimmy Fallon,” she explained that her #ShowerEats photo represented the multitasking skills parents need. 


    “This is just mom life,” said Biel.


    Thanks for keepin’ it real!

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

  • The Miss Sofia Coppola Seminary For Eternal Admirers

    THE AIR THAT I BREATHE


    “I didn’t know what I wanted to do next, but I knew I wanted to do something that was really beautiful.” 


    Sofia Coppola’s movies reveal her contradictions. She is a director whose Hollywood inauguration was a birthright, thanks to an illustrious family tree and a luckless child-acting stint she never wanted. Fleeting youthfulness lies at the center of her stories: the troubled teens in “The Virgin Suicides” and “The Bling Ring,” the aging actors adrift in “Lost in Translation” and “Somewhere,” the callow duchess thrust into notoriety in “Marie Antoinette,” and now the repressed boarding-school denizens in “The Beguiled.” Her characters seek better horizons, but Coppola is nothing if not resolute, sophisticated, singular.


    In the words of “Bling Ring” star Israel Broussard, Coppola has a “motherly essence and gracefulness.” According to “Virgin Suicides” matriarch Kathleen Turner, who also co-starred with Coppola in the 1986 comedy “Peggy Sue Got Married,” “She gives you a lot of freedom, but you feel she knows what she wants.” Stephen Dorff, the “Somewhere” headliner in whom Coppola spotted a “vulnerability” that no other director saw, waxes about her observant and “confident” disposition. Bill Murray, who netted his only Oscar nomination to date for “Lost in Translation,” has been known to call her the Velvet Hammer. 


    Not many filmmakers can claim palettes ― or personas ― as idiosyncratic as Coppola’s. She is known for getting the performances she wants from her actors and the sun-splashed aesthetics she wants from her cinematographers. She can take on the gravity of the French Revolution or the Civil War, imbuing a contemporary milieu that might make you forget you’re watching a period piece. She has tackled the insularity of suburbia and the disconnectedness of a metropolis, ensuring you relate to both. Every time you think you know Sofia Coppola, she challenges your assumptions, while still maintaining a fixation on adolescence’s ephemerality and the inhibitions that accompany maturity. 


    The Beguiled,” which opens in limited release June 23, is more contained than her previous features, taking place entirely at the Miss Martha Farnsworth Seminary for Young Ladies. The institution’s resources have grown scarce as the Civil War roars on, invoking a malaise that defines the Coppola catalog. 


    ″‘Somewhere’ was an exercise in how minimal we could make that movie and still have it be a movie,” she said during our recent interview in New York. “The script was not even a script — it was like 30 pages and it was just very, very simple. After ‘Marie Antoinette’ was so decorative and so many people, I wanted just to strip down how simply you could make a movie. That was the thinking. And then after ‘Bling Ring’ was such an ugly world, I wanted to do something beautiful. That was the starting point for ‘The Beguiled.’”



    AGE OF CONSENT


    “Sometimes I can’t just relax and enjoy a book without looking at it as something to adapt, which is annoying because I enjoy just reading books.”


    Across her six movies ― seven if you count the hourlong Netflix holiday special “A Very Murray Christmas” ― Coppola has adapted novels fixated on young women, told poignant original stories of self-rumination and depicted larger-than-life episodes from history. 


    Coppola, 46, never wanted to do a remake, but she gravitated toward “The Beguiled” after her production designer recommended the vampy 1971 original directed by Don Siegel and starring Clint Eastwood as an injured Union soldier being nursed to health at the Virginia boarding school. The few girls and women who remain there are transfixed by the mystifying man’s presence.


    Siegel’s version, derived from a Thomas P. Cullinan novel that Coppola dismisses as “pulpy,” portrays the headmistress Miss Martha (played by Geraldine Page) and her students as erratic and feral ― “crazy,” as Coppola puts it. While watching them plant seeds of flirtation and seduction, Coppola pondered what a less masculine perspective would entail, though she swears she’s not the type to consider what she would have done had she directed whatever movie she’s experiencing. 


    “I just wanted to connect with each character on a human level, so I just tried to think about what it was like for her,” Coppola said, referring to Miss Martha, brought to life in this rendition by Nicole Kidman’s commanding subtlety. “I wanted her to have dignity and be attractive. Just because she’s older doesn’t mean she needs to be crazy. And also just because they have desire, that shouldn’t be something crazy either — that should be something human and natural. In the other one, they had to become perverted. She had an incest story, and there’s a lesbian dream montage. Maybe it’s just the style of that time and that point of view, but I wanted to make her more human and relatable.”


    These are, after all, women who have been subjected to a sort of finishing academy. They’ve read manuals on how to behave like a proper lady, what men expect from them, where their places in society lie. Played by Coppola veterans Kirsten Dunst and Elle Fanning, along with a handful of lesser-known young actresses, the characters engage in a battle royal, each pining for the affection of the interloping soldier (Colin Farrell, more strapping than ever).  


    “The Beguiled” harks back to Coppola’s 1999 debut, “The Virgin Suicides,” in which five 1970s teenage sisters shelter their sexuality inside a suburban Michigan home run by parents who implement similar Victorian confinements. The frilly white frocks adorning “The Beguiled” resemble the pale floral gowns the Lisbon sisters don on prom night, not long before collectively ending their lives. Josh Hartnett’s cool Trip Fontaine, who turns heads as he glides down the school’s halls like a true magic man, is to “The Virgin Suicides” what Farrell’s Corporal John McBurney is to “The Beguiled.” 


    Jeffrey Eugenides, the Pulitzer winner who wrote the novel on which “Virgin Suicides” is based, emailed Coppola to say he was “excited” she was adapting “The Beguiled,” a movie he loves. “I feel like there must have been something that he had in the back of his mind — there’s some relation” between the two stories, she said.


    Despite our conversation about the threads that travel throughout her work, Coppola has no idea what anyone says about her online and in magazines. Her stories, largely centered on privileged white people, have inspired a derby of think pieces and Twitter debates, but Coppola is “too sensitive” to engage with those who accuse her films of, say, favoring style over substance. In fact, when I mentioned the passionate debates surrounding her work and its relation to her life as the daughter of the Hollywood legend who directed the “Godfather” trilogy (and the cousin of Jason Schwartzman and Nicolas Cage), she responds with her typical “Oh!” Your opinions about Coppola, whatever they may be, are likely to take her by surprise. It’s almost as if ― imagine! ― she is not here to substantiate critics. Her characters are always searching, just as she sought an identity independent of the biography that so many of us scrutinize. (She once started a fashion line and studied painting at the California Institute of the Arts. She has since helmed music videos, commercials and an opera.)


    “I’m flattered that anyone’s thinking about that,” she said, indicating no desire to elaborate.



    JUST LIKE HONEY


    “I think about a young audience. I want them to have something. I never understood why movies for teenagers didn’t look good or weren’t good quality.”


    On and off movie sets, Coppola is known for her gentle hand. She can come across as aloof, but during our time together earlier this week, her eye contact was warm and she seemed game to discuss whatever topic arose, even if she doesn’t necessarily enjoy annotating her own work. 


    “She appears almost passive,” Kathleen Turner told me. “She kind of lets things happen and then says, ‘Hmm, nah, that’s not quite how I saw it’ or ‘That’s not quite what I was thinking.’ There’s no outright criticism, per se, or it’s so seldom that it’s very surprising if there is.”


    With that temperament, actors want to give her what she’s looking for. It’s why Dunst has returned to Coppola’s charge time and again, and why the elusive Bill Murray became an unlikely muse for her as a screenwriter, and why the image-conscious Emma Watson went total Valley Girl sleaze in a what felt like a left turn after “Harry Potter” and “The Perks of Being a Wallflower.”


    Working with her costume designers and art directors, Coppola gives her casts photographs and films to study. For “The Bling Ring,” a story about real Los Angeles teens who preyed on opulent celebrity homes, she asked Watson and the other actors to watch heist capers like “Ocean’s Eleven.” For “The Beguiled,” Coppola looked to Roman Polanski’s “Tess” and David Hamilton’s ethereal photos of girls.


    To create a Southern Gothic mood on the New Orleans set, smoke machines cast a fog over the plantation’s oak trees. Coppola imagined a rich backstory for the manor that houses the Martha Farnsworth Seminary, once the site of antebellum balls. “It had its grand days,” she said. “The party’s over.” 


    Therein lies a key theme coursing through Coppola’s work: The party is over. It was over for Murray’s and Dorff’s fame-fatigued slouches in “Lost in Translation” and “Somewhere,” respectively. It came to a fatal end in “Marie Antoinette,” and a legally and spiritually fraught stopgap in “The Bling Ring.” In the case of “The Virgin Suicides,” the party could never begin. In a bold move that’s rare for a mainstream Hollywood debut, teen girls were ascribed a sort of ennui and restraint that regularly haunts adults. 


    “When I was starting with ‘Virgin Suicides,’ I wanted to make something about young women because I felt they weren’t always depicted in a way that I could relate to,” she said. “Besides [John Hughes movies like ‘The Breakfast Club’ and ‘Sixteen Candles’], there were always 35-year-olds playing teenage girls.” 


    Despite numerous childhood and young-adult screen credits ― including her infamously derided turn as Michael Corleone’s daughter in “The Godfather Part III” and an appearance in Madonna’s “Deeper and Deeper” video at age 21 ― Coppola blanches at the notion that she herself was something of a child starlet. Regardless, she clearly has a kinship with young actors and actresses that feeds into her recurring themes surrounding the power of youth.


    Israel Broussard, for example, said she’d make the “Bling Ring” cast run and jump up and down before a scene to “get the heart racing.” Coppola said she employed the same tactic on “The Beguiled,” ordering the actresses to dash around in their characters’ nightgowns to prepare for a scene in which they’re hysterical. 


    Such anecdotes speak to the essence of a Coppola set. Kidman may be one of the few older actresses with whom Coppola has collaborated, but the idea of her sprinting though a mansion ― which, by the way, belongs to actress Jennifer Coolidge ― conjures up an image of girlhood, fleetingly recaptured just as Sofia would want it.



    CROWN ON THE GROUND


    “I just want my movies to do well enough so I can keep making movies.”


    In Hollywood, Coppola has been given what some might call a blank check. Few directors can make virtually any movie they want without interference from the studio backing the project. Coppola, who maintains final-cut approval, has said that securing the necessary financing for “The Beguiled” ― a reported $10 million ― wasn’t easy. Nonetheless, she has avoided the box-office litmus test that plagues many women, whose misfires are not granted the free pass their male counterparts enjoy. 


    Coppola’s highest-grossing film is easily “Lost in Translation,” which opened in 2003 and collected $119.7 million worldwide (in addition to Oscar nods for Best Picture and Best Director; she was the first American woman nominated for the latter). Despite 2010′s “Somewhere” petering out at $13.9 million and 2013′s “The Bling Ring” stalling at $19.1 million, she’s continued her track record, making a movie every three or four years.


    Some of that goodwill was inevitably aided by her father’s legacy, even though Coppola’s work stands on its own. But Coppola only cares about ticket revenue insofar as she wants assurance that she can continue to work with the same freedom. (In 2015, she exited Disney’s live-action “Little Mermaid” reboot, which she would have filmed underwater, because the studio wouldn’t grant her creative license.) This time, however, she’s more invested in the profits.


    “It would be fun if [‘The Beguiled’] is successful, just because there’s such a feeling right now with ‘Wonder Woman’ being a hit,” she said. “Ours is not on that scale, but it would just be nice for female-driven stories. The studios don’t always think that’s a valid audience, which it is. [...] So in that way, I hope it does well.” 


    Understanding that the marketing of films is a commercial art unto itself, and that any project’s success is dependent on it opening at the right time and reaching the right demographics, Coppola was disappointed that the “Beguiled” trailer gave away so much of the plot. It’s advertised as a standard thriller, featuring an “over-the-top” score that doesn’t appear in the film, a nearly music-free production that’s striking for someone associated with eclectic soundtracks. She does, however, love the posters and T-shirts with “vengeful bitches” scrawled in cursive, a reference to one of Farrell’s lines of dialogue. In an odd moment of cross-brand synergy, “Real Housewives of New York” cast members posted Instagram photos wearing the shirts and promoting the film’s release date. 


    Setting aside her family name and the strain of being a woman in a male-monopolized industry, Coppola’s distinctive visual flair and languid pacing are key to the creative immunity she has attained.


    “Sofia also has an uncanny ability to communicate her vision in a few incredibly evocative and well-chosen words,” Sarah Flack, who has edited Coppola’s movies since “Lost in Translation,” wrote in an email. “I often tell directors that I can get them from A to Z (from the dailies to a cut scene, or from one version of a scene to another version, or a new version of the film) if they just tell me what Z is. They don’t have to figure out how to get to Z with the footage we have ― that’s my job ― as long as they know what Z is. Sofia not only knows what Z is at all times, but she can describe Z in the most perfect way.”


    Coppola is the rare woman who invites few, if any, comparisons to her male predecessors and equivalents. Having long ignored her father’s advice to “say ‘action’ louder so they know you’re in charge” (and survived just fine, thank you very much), Coppola doesn’t need a penetrating presence in Hollywood’s macho auteur club or dazzling box-office returns to make the movies of her choosing. She simply needs her own biography, displaced and refracted upon each endeavor.


    We faithful peasants will continue to eat her cake.


    “The Beguiled” opens in limited release June 23 and expands nationwide June 30.



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  • Jennifer Lopez Hits Back At Haters Who Accused Her Of Photoshopping Ab Photo





    Jennifer Lopez clapped back at the haters who accused her of Photoshopping one of her most recent Instagram photos. 


    On Thursday, the performer shared the photo below: 



    A post shared by Jennifer Lopez (@jlo) on




    If you weren’t distracted by how amazing J.Lo looks, you may have noticed what appears to be a smudge just under her sweatshirt on the right. Plenty of people in the comments claimed the mark was a result of an unsuccessful attempt at altering the pic, but Lopez wasn’t having any of it. 


    The “Shades of Blue” star replied to the comments and then shared a screenshot of her response in her Instagram story. 


    “Omg…Just a smudge on the mirror…lol…not photoshop. #lordblessthehaters #gymrat #youshouldtryit #wishtherewasphotoshopforhaters,” the 47-year-old star wrote.  



    Is it really so hard to believe that Jenny from the Block, a celebrity who no doubt has a trainer, a chef and a very specific diet, looks so good? No. It’s not. 

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  • Diddy Can't Stop, Won't Stop Shading Kendall And Kylie Jenner

    Sean “Diddy” Combs is too pure for this world and we must protect him at all costs. 


    The rapper and business mogul premiered his new documentary “Can’t Stop, Won’t Stop,” which traces the legacy of his Bad Boy Records label, in Los Angeles Thursday night. The event boasted an impressive celebrity guest list, including Dr. Dre, Snoop Dogg, Madonna, and, yes, Kendall Jenner.


    Diddy shared a slew of photos from the night, but one in particular caught the internet’s attention, a short video of him posing with the 21-year-old supermodel. 


    “Last night @kyliejenner #cantstopwontstop #aboutlastnight,” he wrote in the caption, accidentally tagging Jenner’s sister, Kylie Jenner, instead of her. 






    He quickly corrected his mistake and apologized for the mixup in the comments after the internet was done thoroughly high-fiving and roasting him. 


    “I’m human people. I make mistakes Sorry,” he wrote.



    A post shared by Diddy (@diddy) on




    Last month, Diddy brutally cropped the Jenner sisters out of a photo at the Met Gala, sparking the glorious hashtag #DiddyCrop. 






    He can’t be stopped now, ’cause he’s bad boy for life.

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  • Why Fifth Harmony Will Keep Their Name Despite Camila Cabello's Exit



    It’s been roughly six months since Fifth Harmony became a quartet, but the group says there are no plans to change their name. 


    Lauren Jauregui, Ally Brooke, Normani Kordei and Dinah Jane spoke recently about the decision to keep their name the same despite Camila Cabello’s sudden departure in December.


    “It was obviously a thought because it was a prevalent thing that there’s four of us and not five,” Jauregui told MTV’s Meredith Graves during a video interview posted Wednesday on Facebook. “Regardless, we were all very united in the fact that we didn’t want to change the name.”


    “We felt like within ourselves, no, Fifth Harmony is the name that we grew with and we worked for and it’s our brand,” she continued. “It’s who we are. It’s our whole entire moment. It’s what we spent five years on.”


    The rest of the group echoed Jauregui, with Jane adding that fans (also known as Harmonizers) are now the fifth member of the group. 


    Cabello’s absence has done little to stop Fifth Harmony’s momentum. The group released their first single “Down” as a foursome on June 2.  



    A post shared by Fifth Harmony (@fifthharmony) on




    Cabello also recently released her debut solo single “Crying In The Club,” and has shown no signs of regret when it comes to her decision to leave Fifth Harmony.


    “I wish the best for them and I’m sure they’re going to kill it and I’m super happy making my own music,” Cabello said during an interview with AMP Radio on June 8.


    When asked if she had heard the group’s new song, the artist said she’d heard “snippets” and thought it was “pretty cool.” 

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  • Johnny Depp Cracks A Joke About Assassinating Donald Trump





    Actor Johnny Depp is under fire after making a crack about assassinating President Donald Trump


    The “Pirates of the Caribbean” star was in Glastonbury, England, introducing the film, “The Libertine,” at an event called Cinemageddon when he brought up the president’s name. 


    “I think he needs help,” he said. “There are a lot of wonderful dark, dark places he could go.” 


    Then Depp told the audience:



    “It’s just a question. I’m not insinuating anything. By the way, this is going to be in the press, it will be horrible, but I like that you’re all a part of it. 


    When was the last time an actor assassinated a president?”



    The crowd cheered wildly. 


    “Now, I want to clarify, I’m not an actor,” he added after a pause. “I lie for a living.” 


    The comments come weeks after comic Kathy Griffin was criticized for posing with a bloody fake Trump head, which led to her losing a job with CNN. They also come amid protests in New York over a staging of Shakespeare’s “Julius Caesar” in which the title character, who is stabbed to death, looks like Trump. 


    Some celebrity comments over assassination have led to Secret Service inquiries. Conservative rocker Ted Nugent said he got a visit from agents after he said in 2012 he would be “dead or in jail by this time next year” if President Barack Obama was reelected.


    It’s not clear yet if the agency plans to question Depp about his remarks.

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  • Amanda Knox Opens Instagram World: Creepy Fairy Tales, Cuffs And Cats





    Amanda Knox, the American convicted of murder in Italy and then freed, has gone public with her Instagram account two years after being exonerated, and a couple of the posts are fairy-tale bizarre.  


    Two of the shots show Knox, 29, earlier this month dressed in full Little Red Riding Hood regalia with her beau, Christopher Robinson, dressed as a wolf stalking her in Germany’s Black Forest.



    A post shared by Amanda Knox (@amamaknox) on





    A post shared by Amanda Knox (@amamaknox) on




    The photos were taken during the couple’s tour this May and June of France and Germany. How serious are the two? To Robinson, a novelist, Knox tweeted in May after a “birthday kiss” in Colmar, France: “Je t’aime.” 







    A post shared by Amanda Knox (@amamaknox) on





    A post shared by Amanda Knox (@amamaknox) on




    Knox, of Seattle, made headlines when she was arrested in 2007 after the death of her British roommate, Meredith Kercher, in Perugia, Italy, while the two were studying abroad. Knox and her then-boyfriend, Raffaele Sollicito, were convicted of Kercher’s murder. Knox spent nearly four years in an Italian prison before Italy’s highest court overturned her and Sollecito’s convictions in 2015. (A third person charged in the murder, Rudy Guede, is serving a 16-year sentence.) 


    Since then, Knox has become a journalist and the star of a Netflix documentary on her case. She has also been posting Instagram photos since her release — and keeping them private no longer. “What’s happening?” she asked on her Twitter account Tuesday. “Well, I made my Instagram public. No more hoarding all my amazing cat videos.”






    The cat posts are cute, but some of the others are far more interesting. One of her posts in April is a selfie of Knox wearing a T-shirt featuring an image of handcuffs and reading: “It could happen to you.”



    A post shared by Amanda Knox (@amamaknox) on




    That post is part of her work on behalf of the Innocence Project, which helps free people wrongly convicted of crimes.


    Oh, and the cats featured in her Instagram posts are Emil, Fats — and Screams.


    type=type=RelatedArticlesblockTitle=Related Coverage + articlesList=57ec8d75e4b0c2407cdbd40d,57d1684ce4b06a74c9f2deef

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  • Aubrey Plaza Spent Some Quality Time Smoking Pot With The Weed Nuns



    Aubrey Plaza plays a foul-mouthed Medieval nun in her new film “The Little Hours,” so it’s only natural that the actress recently spent some time with the unconventional Weed Nuns.


    Plaza spent close to an hour smoking pot with Sister Kate and Sister Evie, and the whole thing was captured by WatchCut in video uploaded on Wednesday. 


    The self-described Weed Nuns belong to California’s Sisters of the Valley, whose mission is to empower women and heal with cannabis products.  


    Plaza asked the nuns several questions about what they do, including why they decided to become nuns and what vows they’ve taken. The nuns also gave Plaza some weed from their own stash and showed the actress how to properly cut a cannabis bud. 


    In the end, Sister Kate gave her review of Plaza’s new movie “The Little Hours.”


    “I was really all set to hate that movie and I ended up really liking it,” she said. When Plaza asked why she felt that way, the nun responded that the trailer she saw was filled with “trashy” moments. But once she saw the full film she found it to be “a delightful story.” 


    ″[The movie is] raunchy, but the Catholic League said ‘raunchiest’,” Sister Kate continued. “No, it’s not the raunchiest. You haven’t watched any nun porn movies.”


    “You’ve seen nun porn movies?,” someone asks from behind the camera. 


    “Yes, I can’t believe I said that,” Sister Kate responds, while laughing. 





    Watch Plaza and the Weed Nuns get high in the video above. 

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  • Courteney Cox Opens Up About Motherhood, Miscarriages And Wanting Another Child

    Courteney Cox has a lot of thoughts on raising kids today.


    The 53-year-old actress and her ex-husband David Arquette have a 13-year-old named Coco. In an interview with New Beauty, Cox opened up about motherhood, miscarriages and wanting to have another kid. 


    In the interview, Cox said Coco likes to experiment with makeup in her spare time, though she can only wear mascara at school. 


    “I know some people think I should rein her in with the makeup, but it’s a form of self-expression. As long as she’s not sexualizing herself, it’s really just what makes her feel good,” she said, adding she admittedly sometimes has concerns about the length of her daughter’s shorts. “But I want to keep an open relationship with her. I care more about what she’s watching than what she’s putting on her face.” 



    Cox also opened up about health struggles she’s faced. The actress told New Beauty she discovered she has an MTHFR gene mutation, which affects her body’s methylation and can cause a host of mental and physical health problems


    “I suffered miscarriages, my dad died of a really rare cancer, and depression runs in my family, which made my doctor think I should get this gene checked out,” she explained. As a result, she changed her diet and started taking a vitamin to help keep the effects under control. 


    Cox is currently in a relationship with Irish musician Johnny McDaid. In the interview, she spoke about wanting to have a child with him.


    “I would love to have a baby now. I mean, I could carry someone else’s egg. I may be one of the older people doing it, but I would love to, with Johnny that is,” she said.


    She added, “I know it’s crazy, but I would.”

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  • Ted Cruz Just Got Owned By Alyssa Milano

    Ted Cruz (R-Texas) needs to have more chill.


    On Thursday, the senator inexplicably responded to a tweet about hugging from actress Alyssa Milano on Wednesday night.


    Milano’s initial tweet called for a “group hug” and appears to have been her response to the news that Republican Karen Handel would win the special Congressional election in the Georgia 6th Congressional District instead of her opponent, Democrat Jon Ossoff. Milano had been live-tweeting updates the entire election night.






    The call for a mass hug was strangely responded to by Cruz ... far too many hours later. And with a WINK-FACE EMOJI.






    NO, TED CRUZ, NO. You don’t even follow Alyssa Milano on Twitter! Why are you doing this? YOU LOVE KAREN HANDEL. YOU DON’T NEED A HUG. 





    Twitter was just as confused, and collectively unenthused, by Cruz’s response.






















    Not missing a beat, Milano responded almost instantly with the perfect amount of sass.






    Milano also added in a follow-up tweet that “anytime you want to get together to talk about your duty to your constituents, I’d love to chat. People before party.”


    Dang. Droppin’ the damn mic, Alyssa.

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