Hugh Jackman Says You Won’t See Him In A ‘Deadpool’ Movie

Wolverine doesn’t care about getting hurt ― he heals almost immediately. For the rest of us, this is gonna sting. 

It appears “Logan” is truly Hugh Jackman’s final performance as Wolverine. We previously were holding out some hope, but in an interview with HuffPost in honor of “Logan” coming to Digital HD, Jackman shut it down.

We asked the actor what the chances were that we’d see his Wolverine and Ryan Reynolds’ Deadpool together on screen.

His answer? Not good.

“It’s sorta out of my hands because I’m an actor who’s played Wolverine. I’m out,” he said, “But if I was running the studio and someone else was playing Wolverine…”

“I’m sure that’s something they could pull together,” “Logan” director James Mangold chimed in.

The director continued, “The reality for me is I’ve made two Wolverine movies in a row, so you’re talking to a guy who’s actually ready to direct Hugh Jackman in something else.”

Sorry, Deadpool.

Jackman previously said he might’ve held off his Wolverine retirement if he had the opportunity to meet the Avengers. Since there’s zero chance of that happening, we asked Jackman what an Avengers-Wolverine movie might look like.

“That would look like a miracle of business,” said the actor, laughing. “It’s a shame,” he added, saying that one of the joys of the comics is when multiple characters get together. 

Mangold came at it from a different perspective.

“The films have gotten so damn crowded,” he said, “It would probably look like one of these selfies with the Oscars with everyone just trying to cram into frame.” He continued, “But of course it would be exciting.”

But alas, it will never be. If you need us, we’ll just be over here watching “Logan.”

We’re not crying. You’re crying.

“Logan” is available now on Digital HD and will be available on Blu-ray, DVD and 4K Ultra HD on May 23.

 

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South Asia’s ‘HONY’ Shares Stories Of Poverty, Hardship, Hope

Every South Asian woman has an incredible story of resilience to tell. One Bangladeshi photojournalist has made it his mission to bring some of those untold stories to light.

GMB Akash is an award-winning photojournalist from Dhaka, Bangladesh who captures portraits of people in his country who rarely make the headlines ― sex workers, child laborers, schoolgirls, women fleeing abusive relationships, women who have no place to call home. 

The 39-year-old from Dhaka has been sharing these images on his social media accounts, pairing the portraits with paraphrased captions that dig deeper into his subjects’ life stories.

Akash said he believes its his duty as a photographer to tell these kinds of stories.

“I must show what can be shown; going deep into every milieu and into every aspect of poverty, deprivation and hardship that I can encounter – because the only sin for a photographer is to turn his head and look away,” Akash, who has been taking photos since 1996, told HuffPost in an email.

Sometimes, it takes just a few moments for people to open up. And other times, it takes much longer. 

“It takes a lot of empathy and connection from soul to soul to understand pain and suffering, as well [the] beauty of another human being,” Akash wrote. “There were times when we simply [sit] together without speaking a word and continue to try to hold the tears. Most of the times it happened while I interview sex worker or elderly abandoned mothers. I let people to open up their wound, suffering, tragedies, and voices.”

HuffPost asked Akash to share 12 photographs of women he’s met in his Bangladesh whose stories have left an impression on him. From Tahora, an elderly woman who was abandoned by her three sons, to Shaheda, a woman who built a new life for herself after the death of her abusive husband, these are incredible women who have lived through both immeasurable sorrow and joy. 

“There is a beauty about a woman whose confidence comes from experiences; who knows she can fall, pick herself up, and move on,” Akash told HuffPost.

Read on to hear from these remarkable women and read . 

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‘Star Trek: Discovery’ Trailer Goes Where No Trailer Has Gone Before

The new trailer for “Star Trek: Discovery” is finally here, and it’s out of this world.

The series faced some bumps along the way, having its premiere delayed, but CBS finally released the trailer at its upfront presentation on Wednesday. From the teaser, we learn that 10 years before Captain Kirk there was First Officer Michael Burnham, aka Sonequa Martin-Green from “The Walking Dead.” And she kicks butt.

In addition to Martin-Green, “Star Trek: Discovery” features a solid cast, including Michelle Yeoh (”Guardians of the Galaxy Vol. 2”) as Captain Philippa Georgiou, Jason Isaacs (aka Lucius Malfoy from “Harry Potter”) as Captain Lorca, and James Frain (”Gotham”) as Spock’s father.

The network seems to have a lot of confidence in the show, as it already bumped up a Season 1 order from 13 to 15 episodes. From this trailer, we can see why.

You can watch “Star Trek: Discovery” on CBS All Access this fall.

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Let’s Play Sean Spicer Bingo While We Still Have The Chance

The White House is a flaming dumpster right now, and it’s unclear who will still be there in a month. There are rumors that White House press secretary Sean Spicer might be fired after some recent disastrous press briefings. 

So, while he still has the job, let’s play Sean Spicer Bingo. We created a custom card, so print it out and play along during his press briefings!

Gosh, if we had a buck for every time he used one of these signature Sean Spicer catchphrases!

 

Use these custom tokens for some added Sean Spicer-brand fun!

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Jamie Chung Might’ve Revealed Season 7 Of ‘Once Upon A Time’ Will Be Its Last

Just when we thought the recent “Once Upon a Time” news couldn’t get any worse, another shocker rolls on in.

During a Build Series interview with HuffPost on Wednesday, Jamie Chung, who plays recurring character Mulan on ABC’s “Once Upon a Time,” tripped us up when we asked her about that mass exodus of cast members

Chung, who will be appearing on Fox’s new “X-Men” show “The Gifted” this fall, sort of, kind of, might have revealed that Season 7 of “Once” will be the show’s final season.

“I actually just ran into one of the creators the other night,” she said, referring to either Edward Kitsis or Adam Horowitz. “They’ve gone seven years, that’s a long time. But there are a couple of cast members coming back for the final, final season. They keep calling it the final season, but it’s just going to keep on going.” 

Wait … what the Chung? Is it the final season, or isn’t it?? 

Chung didn’t elaborate, but when asked if she’d be back for “the final, final season,” she said, “I don’t know, we’ll see.” 

Last week, it was revealed that Jennifer Morrison (Emma Swan), along with Ginnifer Goodwin (Snow White), Josh Dallas (Prince Charming), Rebecca Mader (Wicked Witch Zelena), Jared S. Gilmore (Henry Mills) and Emilie de Ravin (Belle) would all be leaving the show, even though ABC’s not canceling it. Instead, Season 7 will focus on a new storyline including current characters Lana Parrilla (Regina/Evil Queen), Robert Carlyle (Gold/Rumpelstiltskin) and Colin O’Donoghue (Killian/Hook).

Kitsis and Horowitz explained the reboot of sorts to Deadline, saying they “reached a point where we felt like it was time to close certain chapters in the book that we were telling and to take some risks and move forward.”

Obviously those three [Parrilla/Carlyle/O’Donoghue] are very important to the storytelling we have planned for next season, as is Andrew West as the adult version of Henry, so it’s really four returning characters. And then there’s Allison Fernandez as his daughter, so that becomes kind of the core we’re building around.

We’re not ready to make any formal announcements yet, but we’re planning that there will be more regulars added to the mix and probably more recurring characters as we build out the universe of this iteration of the show.

So will the show find a new stride with Season 7 or, as Chung put it, will it be “the final, final season”? Only time will tell. 

HuffPost has reached out to ABC for a comment. 

Watch the full Build interview with Jamie Chung below. 

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Goya Foods Makes ‘Business Decision’ To Pull Sponsorship Of Puerto Rican Day Parade

Goya Foods will not sponsor this year’s Puerto Rican Day Parade. The decision ends, until further notice, the company’s continuous 60-year partnership with the organization behind the annual event. 

The New Jersey-based company cited a “business decision” as the reason for pulling their sponsorship of the annual event that’s being held in New York City on July 11 this year. The Puerto Rican Day Parade, which also hosts a variety of other cultural, educational and social events, said the decision could affect the students who receive scholarships from the non-profit organization.  

“Goya has made a business decision not to participate in this year’s Puerto Rican Day Parade,” the company said in a statement to HuffPost on Wednesday. 

As for whether the decision would apply for future Puerto Rican Day Parades, the company said “that has not been decided.”

On Monday night, the Spanish-language newspaper El Diario reported that Director of Public Relations of Goya Foods Rafael Toro had written a letter to the Puerto Rican Day Parade saying they had withdrawn their sponsorship because the company had been targeted by boycotts that opposed the parade’s intentions of honoring recently released Puerto Rican nationalist Oscar López Rivera.   

The company told HuffPost “the letter was false and NOT written by Rafael Toro… or any employees or affiliates of Goya Foods.” El Diario has since removed any mention of the letter in their report. 

In response to Goya Food’s decision to end the six-decade-long sponsorship, the Puerto Rican Day Parade issued the following statement to the New York Daily News on Tuesday:

We are very disappointed at Goya for pulling out of our Parade via a phone call and with no rationale other than “it was a business decision.” We have learned more through the press, since we have not yet received any official notification, in writing. After a 60-year partnership, we would expect to, at the very least, discuss this very serious matter face-to-face. In the end, Goya is jeopardizing the parade’s commitment to 100 college and college-bound students who stood to receive parade scholarships.

HuffPost also reached out to the organization for comment but had not heard back at the time of publication. 

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Solange’s Letter To Her Teenage Self Captures How Her Invincibility Was Born

The artistry of Solange Knowles has become an indelible part of contemporary reflections on black womanhood. In a recent essay for Teen Vogue, Solange blesses us with some insight on how she developed into the regal being she is today. 

The singer graced Volume II of Teen Vogue’s June issue and her essay, “A Letter To My Teenage Self,” was posted online Wednesday.

A post shared by Solange (@saintrecords) on

In the letter, Solange assures her younger self that all the uncertainty, fear and pain she’s enduring will all serve their purpose in the long run.

And she pays tribute to each youthful version of herself ― including the one most likely to rock micro braids, a stage she eloquently classifies as “the football-player’s-girlfriend-who-wears-braided-blond-highlights-and-swears-by-capri-pants phase.”

“at the time, you are searching,” Solange wrote. “seeking in every corner and pocket of the world for who you are … you will sow each of these chapters in the land that you become.”

Solange shares the impact of everything from the tragedy of a close friend’s death at 17 years old, which she refers to as “the hardest year of [her] life,” to being judged for her looks and free spirit:

“when you go out into the world feeling confident in who you are and what you reflect, young folks will call you names and grown folks will call you names,” she wrote. “It’s ok. one day you will name yourself, and that name will belong to you. it will not be the ones they ordained: “crazy, ugly, attention-seeking, weirdo.”

A significant portion of the letter is rightfully dedicated to mama Tina Knowles and the other women who showed her what black women were truly made of, outside of disparaging media stereotypes. 

They were probably in part responsible for all of the cultural introspection that took place within Solange’s iconic album “A Seat at the Table.”

“you thank them for re-writing the script before it was ever etched in your memory,” she wrote of the women. 

We thank them too. 

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Yvonne Strahovski Finds The Victim In The Villain On ‘The Handmaid’s Tale’

It’s been months since “The Handmaid’s Tale” wrapped filming, and Yvonne Strahovski still can’t get Serena Joy out of her head. 

As the resident baddie in Hulu’s adaptation of Margaret Atwood’s celebrated novel, the Australian actress is discovering new depths to a character whose inner life was largely absent from the text. 

For Strahovksi, her first introduction to the world of “The Handmaid’s Tale” was the pilot script ― she went back and read the book later ― and what inspired her wasn’t the character’s cruelty, but her pain. Capturing the humanity of a woman complicit in the subjugation of her gender under an oppressive regime was an opportunity to make the role her own. 

Until the sixth episode “A Woman’s Place,” released on Wednesday, the series utilized flashbacks as emotionally-driven viewpoints to juxtapose what life was like for Offred (Elisabeth Moss) before she was forced to bear children for the ruling class to which Serena belongs. 

This week, Strahovski delivered some of the finest work of her career, as the series veered away from the book and back to a time where Serena more than lived up to her surname, something that has been stamped out in the totalitarian state she helped create. 

HuffPost recently caught up with the actress.

The series paints Serena as a more complex character as compared to the book. In this version, we understand her as tragic figure. Was that something that attracted you to the role? 

It was definitely something that was important to me after reading the book and having the series flesh out Serena by humanizing her a little more. Yes, she’s the villain. Yes, she’s the evil character, but she also has feelings. It was important for me to try to attempt to have audiences connect with her in some way, shape or form emotionally because she is so unrelatable in every other way. I was going to say in a lot of ways, but I’m gonna say she’s unrelatable because she’s evil.

There’s a real sense of sadness with Serena.

On paper she is so evil, but where does she draw the line? I feel like Serena is so complicated because she is one of those authority figures who created this society, but now she has to live in it. She’s realizing it’s not so great for her either. On some level, she’s also dealing with a lot oppression as a female because she’s been stripped of her rights, to a degree. How do you deal with the complexities of trying to negotiate the fact that you did this to yourself, but also you’re living it and it doesn’t feel so good anymore?

This week’s episode was particularly flashback-heavy and shifted the POV to Serena. What was it like to explore her life before Gilead? 

It felt really unnatural and weird. It really did. It felt like a big giant leap, but I think it’s an important one, because it’s heartbreaking. We’re following the story of Offred and Ofglen and all these amazing characters who are suffering in some way, shape or form, but I think this is a story about how everyone is suffering.

Having those flashbacks with her finding some sort of happiness and meaning and place for herself in the world is important to show, even though I personally struggle to not judge her and totally disagree with what she’s doing as a passive bystander when women are totally losing their rights. 

The flashback scene where Serena isn’t allowed to speak in a meeting about the creation of this new society because she is a woman stood out to me. 

That scene was hugely important to me because it bridged that gap between Serena Joy pre-Gilead, as we see in those flashbacks, and then Serena Joy in Gilead. We spend so much time focusing on the current Gilead, so suddenly in Episode 6, the flashbacks were really hard to imagine after setting up this pent-up, very uptight character. The biggest thing on my mind was at what one point did Serena Joy exit the conversation about how Gilead was going to be set up.

I think that’s the beginning of the demise of her former self and the demise of her and the commander’s relationship. That’s where her rights started getting taken away and she no longer has a voice. It’s this weird line she walks of having a pure intention to begin with of saving the world and creating more babies in a religious-based way. Somewhere along the line, it got obviously really messed up.

Serena and the Commander (Joseph Fiennes) actually share a consensual and loving sex scene in the flashbacks. What was it like to film a sex scene that wasn’t so dark? 

It kind of felt like a normal day of a different show that wasn’t “The Handmaids Tale.” It wasn’t rigid. The walls are very thick and high in Gilead and as each character, we live bound by those parameters, so to have those parameters let go and just shoot a scene that seems pure, loving, passionate and intimate just kind of seemed like a normal day at work instead of working on material that’s really confronting very potent issues and themes. 

How did it differ from the ceremony scenes you share with Elisabeth Moss and Joseph Fiennes? What goes through your mind when you’re all in bed together? 

In the actual moment, it’s pure rage for Serena. She’s lost a lot also. She’s lost her ability to do her work as an author or a spokeswoman. She’s lost her right to connect to her husband sexually. She’s got a lot of emptiness inside her, so she holds onto the one thing that will make her life better there, and that’s having a baby. Serena also has no way out. It’s not like she can leave her house, the country or the Commander. In a way, it’s her own story of survival, but she just happens to be doing really shitty things while she’s surviving. 

I’ve always had this image of her as a boiling pot of water on a stove with the lid tightly on. Every so often, the boiling water inside gets [to be] too much and it has to release and the lid lifts and she releases her rage. There’s just no release in Gilead, so when she can abuse her power and release some of that pent-up rage, she does. 

Did you stay in character during the ceremony scenes? How did you break the tension?

No, I think I would go insane if I stayed in that mode the whole time. We have to let go. Although, I do have to say mentally it was hard to let go of Serena because she is so complex and has all these dualities that feels like a puzzle sometimes. She did stay with me in my brain for the most part of shooting the show. 

We’re not, like, freaky-deaky toward each other on set. It’s a very normal cast and crew and we all like to come to set because it’s just a workday for us. After we get past “How was your weekend?” and “How was your night last night?” we switch gears and get into this kind of stuff. 

What do you make of Serena’s smoking habit? It seems to be one the few obvious cracks in her “perfect wife” facade. 

I sort of saw it as a calming thing and also something to do. There’s just not a whole lot that she has to do in this society. She’s the master of the house and she’s supposed to take care of all things domestic. But I just feel like there would be that element of boredom if you’re in that situation. What do you do? She paints, knits and she smokes because there are no other things to do our outlets. The smoking thing did really seem to me like a time-passing mechanism or a calming mechanism when things get too much for Serena when she’s about to blow. 

Hulu has renewed “The Handmaid’s Tale” for a second season. What are your thoughts on the series moving away from the text and into uncharted territory?  

I’m excited by the prospect. I feel like each of these characters have so much to offer and there’s a lot to explore. I love that we’ve been given this opportunity to spend these 10 episode reflecting what Maragaret Atwood’s book originally told us, but now we have these established characters, so we can take them places. It feels like there are a lot of places to go because we are in such a rigid society, so when everything is so pent up and rigid there a lot of rules to be broken. For someone like Serena, it would be really interesting to see her belief system challenged against her own will. I would love to see her own walls that she built herself crumble around her.

This interview has been edited and condensed for clarity.

New episodes of the “The Handmaid’s Tale” are available every Wednesday on Hulu. 

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Jeff Goldblum Says He Was Almost The Voice Of Apple

Jeff Goldblum was almost Siri and we are shook about it.

The “Jurassic Park” actor recently said in an interview with Australia’s “Today” show that Apple’s late CEO Steve Jobs attempted to convince him to become the “voice of Apple,” according to CNET.

Really.

“Steve Jobs called me up a few decades ago to be the voice of Apple,” Goldblum told interviewer Richard Wilkins. “That was early on, and I did not know it was Steve Jobs.”

Siri can be really irritating when she goes off in your pocket accidentally, but if it was Jeff Goldblum talking to us, we probably wouldn’t hate it as much.

If you’re thinking “Why Jeff Goldblum?” then you probably forgot he was actually an Apple ad man for a little while.

Here’s a classically ‘90s Apple promo with Goldblum talking about pizza and computers ― what a combo!

Maybe the next iPhone will feature some Goldblum … Hey, we can dream, right?

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Miley Cyrus Says She’ll Never Live Down Naked ‘Wrecking Ball’ Video

With last week’s release of her single “Malibu,” we’ve entered the era of Mellow Miley Cyrus.

Mellow Miley is older, wiser and has a few regrets ― namely the 2013 video for “Wrecking Ball.”

On Monday, the 24-year-old stopped by “The Zach Sang Show” and played a game of “Marry, Eff, Kill” with a twist. Using the traditional rules of the game, Cyrus was forced to reveal her true feeling about her hit songs on the radio show.

“Marry would probably be ‘The Climb’ because it still has a message I’m down with,” Cyrus said, adding she would “eff” her 2008 song “7 Things,” which is believed to be about her relationship with Nick Jonas.

“Kill would be ‘Wrecking Ball.’ That’s something you can’t take away ― swinging around naked on a wrecking ball lives forever,” she explained. “Once you do that in the mass that I did, it’s forever. I’m never living that down. I will always be the naked girl on a wrecking ball. No matter how much I just frolic with emus, I’m always the naked girl.”

Cyrus added, “I should have thought how long that was going to follow me around. That’s my worst nightmare ― that being played at my funeral.”

“Wrecking Ball” was the second single off the singer’s 2013 album “Bangerz,” which, at the time, was part of a campaign to introduce the world to the New Miley, who smoked weed, popped molly, twerked and was accused of “degrading” a foam finger while she rubbed up against Robin Thicke at the 2013 MTV VMAs. 

At the time, Cyrus appeared to be trying to break free of what she perceived as family-friendly shackles imposed on her during her contract with Disney while starring on “Hannah Montana.” 

This New Miley was supposed be the real one ― or so she thought.  

“I feel like I can really be myself,” Cyrus told Billboard of “Bangerz” in 2013. “I really have more of a connection of who I am, and I feel like I can maybe express that more in my music now.”

That was early on in terms of New Miley, though. Her 2015 album “Dead Petz” ushered in an era that pushed boundaries even further, making the “Wrecking Ball” video look G-rated in comparison. During the tour, she performed wearing prothetic breasts and a strap-on dildo, whle her videos became, well, just weird.

Cyrus didn’t get to pick which three songs to play “Marry, Eff, Kill” with, but her reaction to “Wrecking Ball” seems to indicate a new, more mature public face.

“I love talking to people, and I approach them in a normal, ‘Don’t treat me different, ’cause I’m not’ way. That’s what started this evolution for me, getting out of my ‘Dead Petz’ phase,” she told Billboard for a recent cover story. “People stare at me anyway, but people stare at me a lot when I’m dressed as a ­fucking cat.”

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