Blue Tile Skate

Ron Cephas Jones made everyone reach for the tissue box with his incredible performance as Randall’s (Sterling K. Brown) biological father, William Hill, on the first season of NBC’s breakout hit “This Is Us.”

Warning! Spoilers below.

After spending the season reconnecting with his grown son ― who was adopted by Rebecca (Mandy Moore) and Jack (Milo Ventimiglia) as a baby ― William lost his battle to cancer on the Episode 16 of the show, titled “Memphis.” The whole episode was a tear-jerker, and a reminder to cherish the ones you love. 

But although William is no longer alive in the series, Cephas Jones confirmed to HuffPost during a Build Series interview that his character will be back in flashback scenes, which the show is known for. 

“I would come in each day in the dressing room and I would open the script going, ‘Is this the day that they’re going to kill him?!’ And it was so hard. I could imagine William feeling the same way ― waking up each day not knowing if it’s going to be your last day,” Cephas Jones said, adding, “As the actor in Ron, I didn’t want to leave. I wanted to stay a part of the show and stay a part of the family that we’ve created there. And lo and behold, that happened. That’s the next thing for Season 2.”

According to the actor, the writers and creator Dan Fogelman will create a “really beautiful” storyline for William next season. 

“It’s similar to Jack’s character ― you already know that he’s died but we see his whole life throughout the season. So now, Season 2 will go back and fill in those spaces and those questions people have about William ― with his relationship with Jessie (Denis O’Hare) or how did he become a musician or how did he get from Memphis to Philadelphia?” Cephas Jones explained. “What and how and where they’re going to write, I have no idea, but I’m just really blessed and happy that I’ll be back for Season 2.”

Cephas Jones said the cast is usually kept in the dark about storylines until table reads, where they freak out flipping through page after page.

“We’re reading along going, ‘Oh, s**t! Oh, f**k! Oh my f**king God!’ And we’re laughing and we’re looking at each other going, ‘Oh no!’” he joked. “It’s definitely a page-turner and exciting and a lot of fun.”

We can’t wait to see where Season 2 takes us. (Probably on another emotional roller-coaster, duh.)

Watch the full interview with Ron Cephas Jones on Build below. 

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Harmonia Rosales, a 33-year-old artist in Chicago, grew up loving classic paintings.

This included works such as Michelangelo’s “The Creation of Adam,” a piece painted on the ceiling of the Sistine Chapel that thousands of people visit each year. Rosales told HuffPost that early exposure to famous paintings such as the Creation “helped to define” her understanding of the world.

“It was only later when I realized that the frame that was set by the masters excluded so much more than it included,” she added. “What was included was a Eurocentric view of the world, and in this case, the heavens. What was excluded was all the rest of us.”

She said that realization sparked the conception of her painting, “The Creation of God,” which she posted to Instagram and Twitter last week. The image has since received thousands of likes and shares.

The oil-on-canvas painting that took two months to create replaces white male figures that represent Jesus, God and angels with black women.

“We have been taught that God created ‘man’ in his own image. In fact, we have created God in our own image,” Rosales said of her work’s title.

“So ‘God’ is whoever we want God to be, a representation of the ideal, of the divine, of wisdom and love and pure creativity.”

Rosales said she decided to use such a familiar painting in order to provoke conversations about thinking critically and challenging social norms.

“The point here is to consider why we have accepted our historical representation of the beginning of life, of the Creator,” Rosales said.

“Does this original representation exclude something very important? Yes, and yes. Women, and people of color. I wanted people to consider creation through a different lens — a tinted one, if you will — that in turn would cause us to consider the way we see everything else we have been taught to see.”

She admits that her painting has received negative criticism, too.

“People do not like change. They are afraid of it. Some will simply not accept this piece,” she told HuffPost. “Some will see this as literal and quote the Bible to prove how ‘wrong’ this image is. It will show that people of color still are not seen as equal, let alone superior.”

Rosales told HuffPost that this piece is part of larger series that will continue to illustrate the empowerment of women of color. Once the series is done, she will exhibit it.

To keep up with updates, you can subscribe to her mailing list at harmoniarosales.com.

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There were a lot of things for true crime junkies to get excited about when Netflix released the teaser for its new series “The Keepers”: an unsolved murder, a missing nun, corruption, a possible Catholic school cover-up.

For all its promises, the series — from documentary veteran Ryan White, who also directed “The Case Against 8” and “Good Ol’ Freda” — delivers. The seven episodes center around the 1969 disappearance and death of Sister Cathy Cesnik, a young nun who taught English at a Baltimore-area Catholic high school and was beloved by students. Two months after Cesnik failed to return home from a routine shopping trip, her body was found by hunters in a remote wooded area five miles from her apartment. Investigations revealed she had suffered a mortal wound to her head. Her killer was never found.

“The Keepers” is as addictive and compelling as “Making a Murderer,” the documentary series that ran on the streaming network in late 2015, spurring theories, sprawling message board discussions and an acute hunger for more true crime stories. (The docuseries are entirely different, of course, but comparisons will be inevitable.)

Any good documentary needs narration, especially for one as layered, and with as many individuals involved, as this. While some of the key players in the story that unfolds surrounding Cesnik’s death have also since died, many are still around to keep the story alive — namely, a group of students at Archbishop Keough High School where the nun taught. It’s been more than 40 years, but the women are able to recount their memories of their former teacher as though they had just graduated.

Perhaps their sharpness is a result of running through those formative years over and over in their heads, trying to search their memories for anything that could explain Cesnik’s abrupt disappearance. Years after graduating, her former students have created a circle of amateur detectives, knocking on doors, looking up records and sharing information. They want to find out something, anything, about who killed their teacher.

Leading the crew are Gemma Hoskins and Abbie Schaub, a retired teacher and nurse, respectively. In the series, we meet Hoskins sitting down at a restaurant and inquiring about their chardonnay. When she discovers that they serve Yellow Tail, she answers with a laugh, “Oh, that’s fine, that’s what I drink at home. Only.”

Meanwhile, we are introduced to Schaub as she waits in line at a local library, stack of papers in hand. “We’ve been using your excellent services for about two years,” she tells the librarian in a high, warm voice when it’s her turn. “We’ve been looking into an unsolved murder case.”

It’s not the kind of thing you’d immediately expect to hear from Schaub, who comes off as a studious, cheerful grandmotherly type. She and Hoskins make an unlikely team, but one that easily becomes central to the series. In the first episode, Hoskins recalls her excitement upon walking into Cesnik’s class at 13 to learn they’d be reading The Scarlet Letter, describing her wonder that “a cool nun” would be teaching the somewhat scandalous classic. Cesnik, we learn, was supportive and eager to listen to her students, a rare source of comfort in a strict religious and academic environment.

“Gemma’s been the Nancy Drew, I think,” Schaub tells the camera while she and Hoskins are sitting side-by-side at a kitchen table, discussing their efforts to find more information about those fateful months in 1969. “She’s good at getting people to talk to her.”

“Abby does amazing research, like no one I’ve ever met,” Hoskins adds. Hoskins likes to pick up the phone and talk to people, which Schaub says is perfect — she does not. It’s hard not to fall in love with the idea of two old high school acquaintances teaming up to solve a long-cold case, proving that the yearning to solve a grisly crime is not confined to whatever notions of detectives we typically see on screen. Other former classmates, journalists and retired law enforcement join the two women in their search for answers.

Hoskins and Schaub’s passion for justice is inspiring, a torch through the darkness that will emerge most pointedly in the series’ second episode. It’d be inaccurate to paint the series solely as a thrilling caper — real traumas occurred within the halls of Archbishop Keough, the effects of which carry through to the present day. The pair of women leading the amateur search for answers provides a framework for the rest of the shocking narrative to reveal itself, a positive and endearing aspect of a tale with much abuse of power and darkness, where the possibility for true justice feels as long buried as its subject.

“The Keepers” begins streaming on Netflix Friday, May 19.

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In 2012, artist Sherrill Roland received a call from a detective with a warrant for his arrest. Roland was an art student at the time, preparing to begin graduate school at The University of North Carolina at Greensboro. Roland, who claimed he had not committed any crime, was in utter disbelief.

He showed up for his trial in October 2013, five days after turning 29. Roland was accused of four misdemeanors and was found guilty on all counts. A D.C. judge sentenced him to 13 months in prison. (In an interview with HuffPost, he declined to give further information about the charges, saying he was not permitted to discuss the details.)

Roland spent just over 10 months in the Central Detention Facility, a space described by lawyers as a “human-rights disaster.” A 2015 report prepared by the Washington Lawyer’s Rights Committee for Civil Rights and Urban affairs described the prison’s condition as “alarming,” citing potentially dangerous structural problems like pests, mold and crumbling walls.

The account concluded that the “appalling conditions of confinement in D.C. prison facilities, especially in light of their disproportionate impact on African-Americans, are a key criminal justice and civil rights issue in Washington, DC.” Black men, including Roland, make up approximately half of the incarcerated population. 

Roland was freed from prison in August 2014. One year later, however, new evidence emerged that ultimately proved his innocence. The judge who’d overseen his trial two years earlier threw out the convictions, and all records of his arrest and prosecution, at Roland’s request, were sealed. It was as if his entire incarceration had ever happened ― to everyone except Roland himself and the people that loved him. 

Despite the fact that Roland’s wrongful conviction was expunged from his record, the experience left him shattered and confused. He wondered, “If I’m not the same person I was, who am I now? Who is the new me?” Ultimately, he decided to address this seemingly irresolvable question, of how to return back to art school after incarceration, through art. 

In an ongoing social justice performance piece titled “The Jumpsuit Project,” Roland wears an orange jumpsuit to spark conversations about incarceration and its impact on individuals, families and communities. He started wearing the suit after returning to UNCG in 2016. Unsure of how to re-enter the academic safe space after serving prison time, he opted to wear his experience and his trauma on his sleeve.

It’s jarring to see a man in a orange jumpsuit roaming public spaces. Roland told HuffPost that confused bystanders occasionally asked him where his guard was. This level of discord is heightened on college campuses, known for their insularity. The same goes for the art institutions where Roland occasionally performs. When he enters a museum, he explained, “the vibe changes instantly.” The suit manipulates the space in which it exists, making room for new, often intimate, interactions between virtual strangers. Strangers approach Roland to discuss his experiences and share their own, chipping away at the estrangement that incarceration can bring out. 

Roland graduated from UNCG last week with a Master’s degree, and he wore his jumpsuit to receive his diploma. This month, the artist will spend three days in front of the Brooklyn Public Library, performing “The Jumpsuit Project” for participants and passersby.

Read on for an interview with Roland about the origins of the piece:

How would you describe your art before you were incarcerated? 

I had a design background. I was focused on making objects with my hands and also liked the quickness of sketching things out with digital software. When I was going into my grad school program in 2012, I was making work based off narratives from my home in Asheville, stories from my mother’s generation. 

In 2012 you were issued a warrant for your arrest. What was your life in general like before this moment? 

Going into grad school I was very focused. I thought I had everything figured out. I was going to get this MFA and go teach at a collegiate level. I planned to work on my own art during the summertime. I thought I had my path all laid out.

What was it like to receive a call from a detective requesting you turn yourself in?

I remember being at home ― it was the week before I was going to move to Greensboro. I was in my mother’s room, but she was away at the time, maybe at work or something. When I got the call I was completely shocked. It was crazy being alone and not being able to reach out to my mother when it happened. 

What were your expectations after your court hearing? Do you remember how it felt when you were found guilty? 

I had entirely expected to not be found guilty. I didn’t get any of my things in order to prepare me to go to jail. It was inconceivable. I couldn’t imagine it. I didn’t know how to plan for it. I didn’t know how it would go.

During the trial, everyone was trying to stay positive. I’ve never felt so blank-headed. I had no idea what was going on. I was so scared. It was hard to think about what could be taken away from me — everything I had accomplished, my family, my friends. Every day something new popped into my head, something I would potentially be giving up. I tried not to think about stuff like that.

During your time in jail, did you make art? 

I came up with ideas for art projects I could do while I was in there, but my perspective on art shifted a bit. I lost the taste for making things for myself. I just couldn’t do it for some reason. I drew for other inmates ― portraits of their families that they could send as gifts. It’s hard to put a value on how much those cards meant to the people receiving them. We on the inside did not have anything to give. It is really powerful creating something for someone’s significant other or child, helping them get a gift from someone who can’t obtain one any other way. I was willing to make things as long as they meant something. They had a different type of value and weight.

Did you have any other outlets to communicate or express what you were going through?

Writing was my therapeutic release. My letters going out were the only things that were not looked at. Letters coming in were opened and read, our phone and video calls were recorded. I would write at least five pages for each letter. A lot of time I was on lockdown, so I couldn’t have phone conversations. I would end up just writing and writing. I had no indication I was going to get my freedom back. I was facing the fact that I had to deal with this wrongful conviction.

Were there other habits or tactics you developed in jail to make your time there more tolerable? 

I tried to stay connected. The Washington Post circulated inside there. Somebody would find it and pass it around. I was the only one who looked at the Art and Style sections. I found ways like that, to get what I wanted. For example, most people hated vegetables but loved cake, but I hated the cake, so I traded for vegetables. I was always trying to trying to figure out ways I could succeed, ways to stay connected to who I was before I came in. 

Tell me about when you first began thinking about “The Jumpsuit Project.” 

After my conviction was overturned, I just sat at home for a very long time. I spent a long time waiting to see what I was going to do with my life. How am I going to accept this experience? I figured out how much it would cost to go around the world on a small budget. I dreamt of getting away. I had a very strong reaction against sitting still. I had been restricted in so many ways. I just wanted nobody to tell me what to do. I brought that idea and another idea to a professor of mine. The other idea, which was kind of unformed at the time, was “The Jumpsuit Project.”

What did the idea look like in its early stages? 

It came to me in a dream. It was more of a question than an idea. I’m used to thinking as a designer, so when I see a project, I see an end product. But here, for the first time, there was no answer. It was uncharted territory for sure.

Sheryl Oring was my teacher at the time. I remember going to her house being like ― What would it be like if I wore an orange jumpsuit on campus? I was contemplating ― If I’m not the same person I was, who am I now? Who is the new me? I used to think I had a certain safety on campus. I was naive. I see the world totally different now. Who am I on this campus? I felt like I carried the burden of my experience anyway. What if I just wore an orange jumpsuit?

I had trouble figuring out how to explain it, but right away she said: “That’s it. You should definitely do that.” Immediately I tried to take it back. Sometimes you get an idea and you worry it might be too much for you. You’re not sure if you can handle it. I think the first thing I said was, “Well, I have to talk to my mother first.”

What was it like re-entering your college campus wearing an orange jumpsuit? 

The very first day my teacher Sheryl walked with me to the library. It was the most terrifying thing I have ever done. I thought, I am about to step out there into this world and tell people I just went to jail. I had received my bill of innocence in 2015 and started the project in 2016, so it was all very fresh.

I remember this guy coming out of the library, checking me out, and literally walking around me. It didn’t even phase him. I have had all kinds of reactions ― people bolt the other way, people side step, give me space. Sometimes I’ve frightened people.

Do you follow specific guidelines while wearing the suit? 

There are restrictions while in my suit. I treat the academic institution like a correctional institution, so I’m not allowed to stop outside and talk. I can only go to point A and B, one classroom to the next. If you want to talk to me you have to escort me; we can’t stop and chat. But once I’m in the library or in an enclosed space, I am free to talk. Whenever that happened, people started to gather around. Mostly, as quick as I can, I tell my story. I get a lot more hugs and support than negative looks. But it happens. There are some people sneaking by me and taking pictures, people laughing. Some people clearly have no idea know what I’m doing. 

As far as the conversations go, are there certain ideas or talking points that come up again and again?

A lot of people come up and say, “My brother is going through the same thing,” or someone else in their lives. I had family members who had been locked up before, but they didn’t want to talk about it. And when I talk about my experience with my friends and family, they can’t totally get it because they weren’t there. Then I start think, Am I alone? But once I started talking, I met people who had so much to share. It opened up a whole other support system. People were willing to share so much, in fact they needed to share it, they just didn’t think they’d have an opportunity to, to talk to someone that got it. 

What misconceptions did you have about incarceration before experiencing what it was like yourself?

When I went in, I was trying to separate myself. “I’m not supposed to be in here, I am innocent, I am not supposed to be with these other guys.” I ended up realizing that I was no different than anyone. They dehumanize you in there. No one has a name. Me saying I’m innocent — well, a lot of people think they’re innocent. The correctional officers didn’t have time to hear any of that.

I remember this old geezer in there, he got sentenced 20 to life for murder. He came to jail temporarily for a parole hearing and they housed him in with us. He said, “I know you say you’re innocent, but there has to be a reason why you are here. Open your eyes and see what’s here.” At first I was like, “What? That makes no sense!” But I started to take in all the people here. Everybody was going through the same things. Everyone was trying to deal with having their friends and families taken away. We were each other’s only support system.

I had this idea of what the word criminal meant. But when I was listening to this guy, who was in for murder, it was a big perspective change. Everyone in there is a human being. People have made mistakes and learned from them. When you have nothing, you need each other. One day, after I’d been wearing the same clothes for two months, some of the guys collectively got me fresh T-shirts and underwear and socks. Once I saw what goes on in jail, how we were treated, I will never forget. We need to have more conversations about it. I don’t believe anybody has to go through what I went through to get this perspective. I got my innocence restored. A lot of people don’t get that opportunity. 

This weekend you will perform at the Brooklyn Public Library. Do you expect the performance to differ from the UNCG performance in any specific way? 

I’ll alter the performance to fit a public setting. Every place has its own culture, so in a way, it’s up to the community that comes through the library. It can go a number of ways. I just hope it goes safely. I’m interested to hear the stories. It’s not always about jail itself, but about overcoming things. Sometimes it’s just about getting through a struggle.

How long do you plan to continue this project? Do you envision it changing shape in the future?

I want to take a break from the performance part and make tangible objects to go along with the performance. I have other things I want to get out. I don’t want to drop the opportunity for conversation the jumpsuit has provided. It offers a network for people to come together. I’m going to continue working on it, making it more of an entity as opposed to thinking about just me in a suit. A place where I can start organizing things. An opportunity to share.

This interview has been edited and condensed for clarity.

Roland will perform “The Jumpsuit Project” from Tuesday, May 23, until Thursday, May 25, at Brooklyn Public Library’s Central Branch. Follow the project on Twitter, Facebook and Instagram. 

Welcome to Battleground, where art and activism meet.

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Starburst is a polarizing candy as far as flavor preferences go.

But allow us to set aside our differences for one glorious moment to bask in this this magnificent labor of love: A dress made out of 10,000 Starburst wrappers.  

Emily Seilhamer describes herself on her Facebook page as an artist whose “passions are painting, upcycling, sewing, and crafting.” But after the four years, according to Mashable, she spent collecting, sorting, ironing and stringing together thousands of wrappers, we’d say she’s also a master in patience too. 

Seilhamer is more than just a devoted member of team pink (or red, or yellow). The beloved candy holds a special meaning to the artist and her husband. 

“My husband and I met when he offered me a pack of Starburst a few years before the project started,” she wrote on the caption of the dress photo album. “As his favorite candy he began to save grocery bags full of wrappers for me… The dress had a nice spot next to the gift table at our wedding almost 2 years ago!”

Seilhamer used underwear elastic in matching shades as the wrappers to seal the edges and make a zipper. To make things even more impressive, she revealed in a comment on her Facebook page that she has “never used a pattern or learned how to make garments,” adding, “been teaching myself as I go!”

Color us all the Starburst flavors in the world impressed. 

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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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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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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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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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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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