Nine to Five (1980) - News Poster



‘The Voice’ live playoffs: Remaining 20 artists perform before major eliminations [Updating Live Blog]

  • Gold Derby
‘The Voice’ live playoffs: Remaining 20 artists perform before major eliminations [Updating Live Blog]
What did you think of Monday’s whirlwind “The Voice” episode featuring 24 performances packed into two hours on NBC? It was the first live show of Season 14, and there were no actual eliminations from the program. In fact, Kyla Jade for Team Blake Shelton, Britton Buchanan for Team Alicia Keys, Brynn Cartelli for Team Kelly Clarkson and Sharane Calister for Team Adam Levine are guaranteed for the Top 12 episode next Monday, April 23, after getting the most votes in this round.

See‘The Voice’ Top 24: Every artist performs on 1st live show of Season 14 [Updating Live Blog]

That means 20 artists are slated to perform yet again for the live playoffs on Tuesday and Wednesday. Eight of them will be gone after major eliminations will happen based on audience votes at home. Enjoy our live updating blog below for the Tuesday, April 17, episode hosted by Carson Daly.

Contributors John Benutty and Denton Davidson joined
See full article at Gold Derby »

Rita Moreno (‘One Day at a Time’) poised for Emmy return 31 years after winning Egot

Rita Moreno (‘One Day at a Time’) poised for Emmy return 31 years after winning Egot
Can Rita Moreno make an Emmy comeback for “One Day at a Time” after a 35-year absence from the awards? As the wise-cracking grandmother of a Cuban-American family living in Los Angeles, CA, Moreno has the kind of showy supporting role that brought Emmys to Estelle Getty (“The Golden Girls”), Rhea Perlman (“Cheers”) and Megan Mullally (“Will & Grace”), who could actually return herself this year for that show’s revival. And given that her Netflix series is a reboot of a 1970s sitcom from Norman Lear, whose hit shows “All in the Family,” “Maude,” “Good Times,” “Sanford and Son,” “The Jeffersons,” and “Mary Hartman, Mary Hartman” made him King of the Emmys that decade, it would almost feel like a done deal, right? Well, almost.

The Egot recipient was widely expected to reap a Best Comedy Supporting Actress nomination for the show’s first season in 2017, but was snubbed.
See full article at Gold Derby »

Dolly Parton Confirms She Lily Tomlin And Jane Fonda Have All Decided They ‘Are Going To Do Another’ ‘9 to 5’

The original “9 To 5” trio is ready to return to work. Dolly Parton, Jane Fonda and Lily Tomlin are reportedly eager to reprise their roles from the 1980 workplace comedy “9 To 5” in a reboot for a new generation. With 20th century Fox eyeing writer-actress Rashida Jones to pen the script, the rebooted film
See full article at ET Canada »

9 To 5 is getting a reboot/sequel

Simon Brew Mar 1, 2018

The 1980 comedy hit 9 To 5 is getting a belated follow-up...

Things had been a bit quiet on the movie reboot/belated sequel front over the past months, but rest assured, Hollywood executives are still trawling through the archives to see what other films that can revisit.

They’ve landed on 1980 comedy 9 To 5 now, that starred Dolly Parton, Jane Fonda and Lily Tomlin, and featured Parton’s hit single of the same name.

The new film will zero in on a trio of women facing chauvinism in their workplace, who seek out the original characters from the first movie for help.

Rashida Jones is on the wishlist to write the new movie, with Pat Resnick also involved. No word yet on a writer for the project, and it’s fair to say this one is in its early stages of development. We’ll keep you posted as it shuffles forward.
See full article at Den of Geek »

‘9 To 5’ Reboot Punching In: Rashida Jones To Script With Pat Resnick; Dolly Parton, Jane Fonda, Lily Tomlin All Circling

‘9 To 5’ Reboot Punching In: Rashida Jones To Script With Pat Resnick; Dolly Parton, Jane Fonda, Lily Tomlin All Circling
Exclusive: When you look at the 1980 comedy 9 to 5 and ask what has changed from the male chauvinist premise of that film, the #MeToo movement proves the answer is, absolutely nothing. What better timing for a new version of that hit, especially when original stars Dolly Parton, Jane Fonda and Lily Tomlin are eager for a reprise? 2oth Century Fox is in the early stages of a new version that would focus on three young women dealing with sexism and chauvinism in the…
See full article at Deadline Movie News »

Allison Janney movies: 10 greatest films, ranked worst to best, include ‘I, Tonya,’ ‘American Beauty,’ ‘The Help’

  • Gold Derby
Allison Janney movies: 10 greatest films, ranked worst to best, include ‘I, Tonya,’ ‘American Beauty,’ ‘The Help’
Allison Janney had a rocky road to success as an actress and probably had many doubts that she would ever achieve the level of success she has. That’s all behind her now with her seven Emmy wins for acting placing her in second place all-time just one trophy behind Cloris Leachman and Julia Louis-Dreyfus. And now with her 2017 film “I Tonya” bringing her the biggest silver screen success of her career, let’s take a look back at her stellar work in movies.

SEEAllison Janney (‘I, Tonya’) on giving heart to a monster: ‘I hooked into her sadness’ [Exclusive Video Interview]

Janney faced great challenges in her early career and has stated she was told there was no place in the acting world for a six foot tall woman unless the woman was drop dead gorgeous like Sigourney Weaver. In a business that prizes youth it is interesting to note that Janney
See full article at Gold Derby »

What Happened to the Women Directors in Hollywood? Part 5: 2000–2017

Mira Nair and Ava DuVernay: Wikimedia Commons/IndiaFM/Bollywoodhungama/usbotschaftberlin

by Carrie Rickey

This five-part Truthdig series by Carrie Rickey is published in partnership with Women and Hollywood. The series considers the historic accomplishments of women behind the camera, how they got marginalized, and how they are fighting for equal employment. Specifically, this series asks, why do females make up between 33 and 50 percent of film-school graduates but account for only seven percent of working directors? What happened to the women directors in Hollywood?

Female filmmakers greeted the 21st century with optimism. By most measures, movies by women were garnering increased respect in the industry and at the multiplex. Their makers cracked glass ceilings, created new genres, and established new box-office records.

With “Nowhere in Africa” (2001), Caroline Link became the second woman to direct the Oscar-winner for the year’s best foreign film. With “Lost in Translation” (2003), Sofia Coppola was the third woman to receive a best director nomination from the Academy of Motion Picture Arts and Sciences. And with “The Hurt Locker” (2009), Kathryn Bigelow was the fourth woman nominated in the directing category — and the first to win. The following year, Danish filmmaker Susanna Bier directed the winner in the best foreign film category, “In a Better World.”

Gina Prince-Bythewood’s “Love & Basketball” (2000), Karyn Kusama’s “Girlfight” (2000) and Gurinder Chadha’s “Bend It Like Beckham” (2003) created what might be called the “Title IX” movie, celebrating female athletes on the court, in the ring, and on the field. These are sports movies that celebrate the female body — not for its sex appeal, but for its power. These films inspired younger women (and their mothers were thrilled to take them to movies that didn’t objectify women).

Comedies by women continued to make serious box office, proving the Hollywood wisdom that “funny is money.” Nancy Meyers’ “What Women Want” (2000), starring Mel Gibson as a player briefly given the power to hear what women think about him, made $374 million. Sharon Maguire’s “Bridget Jones’s Diary” (2001), in which the title character says what she thinks about womanizers and prigs, brought in $282 million. Movies like these permitted men and women to laugh at men’s foibles.

From Patricia Cardoso’s “Real Women Have Curves” (2002), which introduced America Ferrera as a college-bound Latina, to Julie Taymor’s biopic “Frida” (2003), with Salma Hayek as Mexican artist Frida Kahlo, to Patty Jenkins’ “Monster” (2003), with Charlize Theron as serial killer Aileen Wuornos, audiences saw realistic women — as opposed to human swizzle sticks with breasts — in movies by women.

Many critics hailed Niki Caro’s “Whale Rider” (2003), about a Maori preteen who challenges her tribal patriarchy and becomes the new chief, as a harbinger of the triumph of female filmmakers over the status quo. Others pointed to the fact that for the first time since records had been kept, in 2000 women made 11 percent of the top 250 box office films. For women who make movies, the new century felt like a new day.

The Good, the Bad, and the Ugly

Sadly, that encouraging percentage turned out to be a fluke. After 2000, the number dwindled. It remains stuck in the 6 to 9 percent range, says Martha Lauzen, professor of communications and head of the Center for the Study of Women in Television and Film at San Diego State University. Since 1998 Lauzen has tracked women working in the industry in her annual “Celluloid Ceiling” report.

“When I started this, I thought it was merely an issue of people not knowing how low the numbers were,” Lauzen said ruefully. “I didn’t know how slow social change is.”

Lauzen’s reporting represents one of three vital resources for understanding the triumphs female filmmakers have made and how far they need to go to achieve parity with men. The others are Stacy Smith’s Media Diversity and Social Change Institute at USC’s Annenberg School and The Bunche Center at UCLA.

Collectively and individually, these creators of annual good news/bad news reports have kept the issue of representation in the public eye.

The Good: For Kathryn Bigelow (“The Hurt Locker,” “Zero Dark Thirty”), the late Nora Ephron (“Julie & Julia”), and Nancy Meyers (“It’s Complicated,” “The Intern”), the 21st century has been a fruitful time. So, too, for younger female moviemakers. Consider Lisa Cholodenko (“Laurel Canyon,” “The Kids Are All Right”), Ava DuVernay (“Selma,” “13th”), and Mira Nair (“Monsoon Wedding,” “The Namesake”).

Consider also that Catherine Hardwicke established a franchise with “Twilight” (which made $393 million), Sam Taylor-Johnson created another with “50 Shades of Grey” ($571 million), and that Anne Fletcher’s “The Proposal” made $317 million and Phyllida Lloyd’s “Mamma Mia!” earned $609 million.

Additionally, filmmakers like Dee Rees (“Pariah”), Debra Granik (“Winter’s Bone”), and Lone Scherfig (“An Education”) broke into the market with unique visions and eyes for new talent, including Adepero Oduye, Jennifer Lawrence, and Carey Mulligan. Significantly, Vicky Jenson (“Shrek”), Jennifer Lee (“Frozen”), Jennifer Yuh Nelson (“Kung Fu Panda 2”), and Brenda Chapman (“Brave”) staked a place for women in animation.

The Bad: For every woman appearing onscreen in movies in 2015 there were 2.3 men, according to Stacy Smith’s Media Diversity & Social Change Initiative.

The Ugly: When Walt Hickey, culture reporter for the website, goes to the movies and sees the screen population is 69 percent male, it just looks wrong to him. “It’s like something apocalyptic has happened, like a parallel universe — a man’s world,” he says.

Both Lauzen’s and Smith’s data show that when a woman is behind the camera and/or screenplay, 39 percent of protagonists are female. In movies by male directors, only four percent of the lead characters are female.

A century ago, male dominance behind the camera and on the screen was not the norm. For women behind the camera, it’s been the norm since 1920. And for women onscreen, it’s been the norm since 1950. Because of this, moviegoers have a distorted picture of America as predominantly male and predominantly Caucasian, when it is neither. (For finer-grain data on minority representation, see this annual report from UCLA’s Bunche Center.)

The Force Reawakens

The Hollywood Dream Factory tailors the majority of its product to the measurements of the men in the audience. This troubles those who want their daughters to partake of the same professional opportunities, cultural representation, and dream lives as their sons. While “Nine to Five,” “Norma Rae,” and “Erin Brockovich” show that studios love stories of women who triumph over the odds, there is less obvious love for female filmmakers trying to beat the odds stacked against them in their professional lives.

Since the Original Six filed suit against two studios in 1983 (see Part 3), female filmmakers have met, strategized, and troubleshot. So much so that in one of her final essays before her death in 2012, Nora Ephron made a list of “Things I Won’t Miss.” Near the top: “Panels on Women in Film.” Many women in film felt as though they were running in place.

“Instead of holding a million panels about it,” Christine Vachon, producer of “Boys Don’t Cry” and “Carol,” exclaimed at the 2016 Sundance Festival, “let’s do something about it!”

Someone had. She is Maria Giese, director of the feature films “When Saturday Comes” and “Hunger.” In February 2013 she brought a complaint to the Equal Employment Opportunity Commission (Eeoc) in Los Angeles. Her contention was that the cohort of working filmmakers in the Directors Guild of America (DGA), of which she is a member, was overwhelmingly male.

(While the number of women in the guild directing episodic television amounts to 17 percent, the DGA 2015 census of female filmmakers registered 6.4 percent. That’s lower than the nine percent of female coal miners, and fractional next to the 32 percent of practicing physicians and 36 percent of practicing lawyers who are women).

The Eeoc, which collects data on employer/employee relations for each calendar year, was reluctant to take on a class-action suit.

In April 2013, Giese contacted the Aclu of Southern California and showed the evidence to Melissa Goodman, director of its Lgbtq, Gender & Reproductive Justice Project. For the next two years Goodman and her colleague Ariela Migdal took testimony from more than 50 female directors. In May 2015 they sent the Eeoc an extraordinary letter that counted the ways in which “female filmmakers are effectively excluded from directing big-budget films and seriously underrepresented in television.” A compelling argument in their letter: “The entertainment industry employs many people and makes products that profoundly shape our culture and the perception of women and girls.” Later in 2015, the Eeoc commenced its own investigation.

In January 2017, based on a high-level internal DGA leak received by Giese, Deadline Hollywood reported that after a federal investigation spanning a year that included testimony from over 100 women directors, the Eeoc recently served charges of sex discrimination and unfair hiring practice against all six major studios. While the federal agency does not comment on active cases, Gillian Thomas and Melissa Goodman of the Aclu wrote in an editorial that they had no reason to doubt the veracity of the leak.

A key factor contributing to Giese’s success in getting this issue to the Aclu and Eeoc was her ability to expose the structural obstacles female filmmakers face, from a guild that puts female and minority filmmakers in the same category, to the studios that question the fitness of women to direct.

Myths and Continued Underrepresentation

Over the 25 years I’ve reported on female filmmakers, I’ve interviewed two generations of movie executives. Most, but not all, were male. Most took seriously my questions about the apparent exclusion of women behind the camera, both on the screen and their forthcoming line-up.

Without exception, all of them retold one or more of the “Three Hollywood Myths.”

Myth #1) “Women don’t want to direct action movies and those are the films which are making money.”

Untrue. See: Martha Coolidge’s “Real Genius” (1985), Kathryn Bigelow’s “Point Break” (1991), Mimi Leder’s “The Peacemaker” (1997) and “Deep Impact” (1998), Lexi Alexander’s “Punisher: War Zone” (2008), and Bigelow’s “The Hurt Locker” (2009) and “Zero Dark Thirty” (2012).

What is true is that Patty Jenkins was hired to direct “Thor: The Dark World” (2013) and left due to creative differences. She is now working on the forthcoming “Wonder Woman.”

What is true is that Mira Nair was offered a “Harry Potter” film and chose instead to make the family drama “The Namesake” because the material was more important to her, and that Ava DuVernay was offered “Black Panther,” the film version of the Marvel Comics series, and declined for similar reasons.

Myth #2) “Movies by women don’t make money.”

Untrue again. Some movies by women don’t make back their investment, just as some movies by men do not. What is true is that many movies by women make major bank. Catherine Hardwicke’s little $37 million film “Twilight” grossed $393 million and launched a billion-dollar franchise.

Hardwicke told me by phone that she hears all the time from studios that films by women are poor investments. “And every time you say, ‘Well, this one made money, that one made money,’ they say, ‘This one made money because it was based on a best-selling book,’ or ‘That one made money because of its hot actress.’”

Here are six more films by women and their box-office grosses. They made money because they powerfully connected with audiences.

Bend it Like Beckham” (Gurinder Chadha). Cost: $6 million/Gross: $77 million“Frida” (Julie Taymor). Cost: $12 million/Gross: $56 million“Frozen” (Jennifer Lee). Cost: $150 million/Gross: $1.2 billion“The Proposal” (Anne Fletcher). Cost: $40 million/Gross: $317 million“Selma” (Ava DuVernay). Cost: $20 million/Gross $67 million“Lost in Translation” (Sofia Coppola). Cost: $4 million/Gross $120 million

Myth #3) “A woman behind the camera means women on the screen and no men in the audience.”

Untrue, if taken literally. Sometimes movies by women have a lower percentage of men in the audience, just as sometimes movies by men have a lower percentage of women in the audience. Take, for example, the 2015 films, “Bridge of Spies” by Steven Spielberg and “The Intern” by Nancy Meyers.

According to Paul Dergarabedian of comScore, the research company’s “PostTrak” data shows the audience gender breakdown at “Bridge of Spies,” a ’60s-era political thriller starring Tom Hanks, was 54 percent male and 46 percent female. For “The Intern,” a contemporary workplace comedy co-starring Anne Hathaway and Robert De Niro, it was 41 percent male and 59 percent female. Spielberg’s film grossed $165 million; Meyers’ $194 million. His budget was $40 million; hers was $35 million.

Ava DuVernay’s “Selma,” the story of the 1965 march for voting rights led by Martin Luther King and starring David Oyelowo, had an audience gender breakdown of 47 percent male and 53 percent female. The assumption that movies come gendered with a blue or pink ribbon is a canard that still lingers in Hollywood, perhaps a vestige of the target marketing that began in the 1980s.

Speaking from the set of “Queen Sugar” in 2016, DuVernay observed, “We’re in a place right now where every other film is about a comic book superhero. We’re top-heavy with testosterone.”

How did Hollywood, a century ago a place where female directors thrived and prospered, come to this?

Stacy Title, director of “The Last Supper” and “The Bye Bye Man,” points the finger at “unconscious bias.”

Mira Nair, who was born in India, suspects chauvinism. “I’ve always remarked at the irony that the percentage of female directors is higher in India than in the United States,” she explained in a phone conversation. “India is supposed to be the traditional chauvinist culture,” she observes. Nair wonders if the historic examples of female prime ministers in South Asia — Indira Gandhi in India, Benazir Bhutto in Pakistan — may have broken the glass ceiling for all professional women there. “Their examples don’t exist in the U.S.”

DuVernay looks forward to the outcome — and hoped-for positive resolution — of the Eeoc investigation. “It’s a systematic problem and it requires radical change,” she said. “If it’s not happening organically, systems should be put in place.” Like many female filmmakers, DuVernay hopes the Eeoc can reconfigure what Giese calls the “vertical playing field for women” into a level one.

“One thing I’m heartened by,” said Nair, who’s been making features for nearly 30 years, “is that the variety and confidence of female filmmakers today is inspiring.”

Do others think it’s changed for the better for women since the 1980s?

“For me, there’s no comparison between the ’80s and now,” reflected Nancy Meyers, whose six films as a director or writer/director have grossed more than a billion dollars. By email she wrote:

Men were still getting used to us being on set in the ’80s. (Men used to have photos of pinups on the set in the ’80s! I’m not kidding.)The only women around back then worked in costumes and hair and makeup. Today women are in every department and often department heads. There are still very few women in the camera department and that’s a shame. That seems to still be a real boy’s club. Today, most crew members are far more comfortable working for and with women.

Yet one thing has not changed: “Now, getting the job to be the director — that’s still an uphill battle,” Meyers said.

In addition to writing film reviews and essays for Truthdig, Carrie Rickey has been a film critic at The Philadelphia Inquirer and Village Voice, and an art critic at Artforum and Art in America. Rickey has taught at various institutions, including School of the Art Institute of Chicago and the University of Pennsylvania, and has appeared frequently on NPR’s “Talk of the Nation,” MSNBC, and CNN.

What Happened to the Women Directors in Hollywood? Part 5: 2000–2017 was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story.
See full article at Women and Hollywood »

Screen Actors Guild Awards 2017: Lily Tomlin Receives Life Achievement Award

Screen Actors Guild Awards 2017: Lily Tomlin Receives Life Achievement Award
As if there were any doubt, Lily Tomlin reminded the world of her singular talents as she received the Screen Actors Guild Life Achievement Award on Sunday night in Los Angeles.

Taking the stage at the 23rd annual SAG Awards, the acclaimed actress, comedian, writer and producer accepted the honor from Dolly Parton, her longtime friend and costar in the 1980 comedy hit Nine to Five.

Tomlin took the stage to accept the award, joking that it came “just in the nick of time.”

“What a week this has been though. You are kind of anti-climactic,” she joked. “Doomsday clock moved
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The Voice Predictions: Who's at Risk on Top 11 Results Night?

The Voice Predictions: Who's at Risk on Top 11 Results Night?
One gazelle is straggling behind the pack — at least in terms of iTunes sales — among The Voice‘s Season 11 Top 11. But will she pay the ultimate price during tonight’s results telecast (8/7c on NBC)?

RelatedThe Voice Top 11 Performance Recap: Yawn & Stretch & Try to Come to Life

At first glance, things don’t look too promising for Team Miley diva Ali Caldwel, the talented soul singer who got saddled with an uptempo Dolly Parton ditty, a Tina Turner wardrobe knockoff and the dreaded opening performance slot on Monday — and subsequently failed to crack the iTunes Top 200 by the close of this week’s voting window.
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Every Movie and TV Show Expiring From Netflix in the Month of April

Time to get your Netflix on, before it's too late. While there are a ton of exciting new titles hitting the streaming service in April, there are also a handful that are leaving for good. 2 Fast 2 Furious, Charlie's Angels: Full Throttle, Rock Star, and Nine to Five are among the month's casualties. Been waiting to binge on M*A*S*H? There's no time like the present! (Seriously though, it's leaving.) Take a look below; you've been warned. Expiring April 1 101 Dalmatians 2 Fast 2 Furious Along Came a Spider Along Came Polly Amistad Bad Johnson Bandslam Barefoot Contessa: Back to Basics Collection: Collection 1 Berkeley in the Sixties The Butcher's Wife Charlie's Angels: Full Throttle Chuck's Eat the Street Collection: Collection 1 Craigslist Joe Dear Genevieve Collection: Collection 1 Eureka: Season 4.0 Flashdance Hook Hotel Rwanda House of Wax I'll Be Home for Christmas The Inexplicable Universe with Neil deGrasse Tyson Léon: The Professional M
See full article at BuzzSugar »

What's Leaving Netflix: April 2016

April is last call for some great movies on Netflix streaming, including "Flashdance," '"Leon: The Professional," and "Let The Right One In."

Also going bye-bye: several classic Frank Sinatra films including "Anchors Aweigh" (1945), "High Society" (1956), "On The Town" (1949), "Pal Joey" (1957) and "Some Came Running" (1958).

Here's a complete list of the movies and TV shows leaving Netflix in April:

Leaving April 1, 2016

"101 Dalmatians" (1996)

"2 Fast 2 Furious" (2003)

"Along Came a Spider" (2001)

"Along Came Polly" (2004)

"Amistad" (1997)

"Bad Johnson" (2014)

"Bandslam" (2009)

"Barefoot Contessa: Back to Basics Collection: Collection 1

"Berkeley in The Sixties" (1990)

"The Butcher's Wife" (1991)

"Charlie's Angels: Full Throttle" (2003)

"Chuck's Eat The Street Collection: Collection 1

"Craigslist Joe" (2012)

"Dear Genevieve Collection: Collection 1

"Eureka": Season 4.0

"Flashdance" (1983)

"Hook" (1991)

"Hotel Rwanda" (2004)

"House of Wax" (2005)

"I'll Be Home for Christmas" (1989)

"The Inexplicable Universe with Neil deGrasse Tyson" (2013)

"Leon: The Professional" (1994)

"M*A*S*H": Season 11

"Nanny McPhee" (2005)

"The Naked Gun 2 1/2: The Smell of Fear" (1991)

"Nine to Five
See full article at Moviefone »

Happy 70th to Dolly Parton, the most approachable of unapproachable superstars

  • Hitfix
Happy 70th to Dolly Parton, the most approachable of unapproachable superstars
Happy 70th birthday to that life-affirming, effervescent, and consummate pro Dolly Parton. The legendary songstress' career is astonishing on every level, and the woman herself seems to treat her success as a wild and hilarious lark that she never, ever takes for granted. It's hard to know where to begin when toasting such a pop culture mainstay, so I'll be jumping around her career with underrated and unexpectedly fantastic moments and videos to commemorate her awesomeness. From her songwriting to her singing to her acting to her endless charisma, Dolly Parton has been the most approachable of our unapproachable superstars. Here are just a few more reasons she's divine. 1. She will astound you with her touching, Oscar-nominated jam "Travelin' Thru" 2. "Bargain Store" is one of her quaintest, most poignant songs. 3. This is, inarguably, the most perfect picture of a human being. 4. What could be more relatable than telling other ladies
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Strictly Come Dancing 2015: week nine – as it happened

Back in Blackpool … Tess Daly and Claudia Winkleman present live from the Tower Ballroom, where the eight remaining pro-celebrity couples dance for the judges

8.00pm GMT

So that’s it for another Strictly! Only seven couples left now, and any of them could make the grand final in just four weeks’ time, so all getting very exciting. I’ll be back here next week, so please join me then, and feel free to swing by Twitter @heidistephens for a chat in the meantime. Thanks for all your comments as ever, you guys are the best. Have a great week! Hx

7.58pm GMT

Jamelia and Tristan say lovely things about each other, because it’s the Strictly way. I’m sad to see her go, her dancing has come such a long way and she was the better dancer this weekend.

7.57pm GMT

So what will the judges do? Craig saves
See full article at The Guardian - TV News »

Hollywood Film Awards: Jane Fonda to receive the Hollywood Suppporting Actress Award for “Youth”

Among the many famous actors and actresses being honored at the 19th annual Hollywood Film Awards, few are as legendary as Jane Fonda. She’s hoping to be in contention for another Oscar this year with Youth, and the Hollywood Supporting Actress Award she’s receiving certainly won’t hurt those chances. She’s now almost guaranteed to be in the running for at least an Academy Award nomination, though as much as anything this honor just shows how viable she still is decades into her career. Fonda is one of the best in the business at her craft, plain and simple. As such, this 2015 moment in the sun for her is unlikely to be even close to her last… Here’s part of the press release once again announcing this honor: Academy Award® winning actress Jane Fonda will receive the “Hollywood Supporting Actress Award” for her role Paolo Sorrentino’s Youth.
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Lff 2015: Grandma Review

  • HeyUGuys
Once a staple of 80s American comedy, appearing in the likes of All Of Me, Big Business and Nine to Five, the fantastic Lilly Tomlin returns to the silver screen in her first solo-lead role since The Incredible Shrinking Woman (1981). Reuniting with Writer/ Director Paul Weitz (About a Boy, American Pie) for Grandma, her

The post Lff 2015: Grandma Review appeared first on HeyUGuys.
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Alan Cumming To Topline Showtime Comedy ‘Florent’ About NY Restaurateur

Florent, Alan Cumming’s passion project about colorful New York restaurateur Florent Morellet, has found a new home. I’ve learned that Showtime has put in development the half-hour dark comedy project starring The Good Wife standout Cumming in the title role, written by Patricia Resnick (Mad Men, Nine To Five) and directed by The Good Wife‘s Rosemary Rodriguez. The trio originally set up the project at Sundance Channel last year. For Cumming, Florent is in second position…
See full article at Deadline TV »

Stage Tube: On This Day for 9/6/15- 9 To 5

Today in 2009, 9 to 5 closed at the Marquis Theatre, where it ran for 148 performances. 9 to 5 is a stage musical with music and lyrics by Dolly Parton and a book by Patricia Resnick, based on the 1980 movie Nine to Five. Resnick had co-written the screenplay with Colin Higgins, the director of the film, in which Parton had her first screen role. The musical premiered at Center Theatre GroupAhmanson Theatre in Los Angeles in September 2008 and opened on Broadway on April 30, 2009. It was nominated for 15 Drama Desk Awards, the most received by a production in a single year. It was also nominated for four Tony Awards.
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‘Grandma’ Star Lily Tomlin on Feminism, Gay Rights, Stardom at 75 … and Donald Trump

‘Grandma’ Star Lily Tomlin on Feminism, Gay Rights, Stardom at 75 … and Donald Trump
At the age of 75, Lily Tomlin is enjoying the kind of career resurgence that you could describe as surprising – except that Tomlin spent five decades as a distinctive, often groundbreaking comic voice who never seemed dependent on waves of popularity. Even when she was part of hits like the ’60s TV series “Laugh-In,” the smash movie “Nine to Five” or the Tony-winning Broadway hit “Appearing Nitely,” she was an actor and a comedian trying to bring distinctive characters to life, not a star looking for the next big paycheck. Three years after winning the Mark Twain Award for...
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The 20 Best Female-Driven Comedies

  • Hitfix
The 20 Best Female-Driven Comedies
"Trainwreck," the new Amy Schumer/Judd Apatow movie, examines the plight of one snarly woman as she exits her familiar world of sexual freedom and hangovers for a detour into serious romance. Though several eye-popping cameos and supporting performances buttress the film, Schumer's performance is the acting triumph of "Trainwreck." Without her shaky conscience and burgeoning sense of fulfillment, the movie's conventional story might feel staid. Thankfully, it's anything but. Schumer's performance marks a welcome addition to cinema's long line of strident, hilarious female protagonists. We're celebrating that lineage with a list: the 20 best female-driven comedies ever. Some are old and some are new, but all are marked by a degree of cosmopolitan fun and nerviness -- and the occasional slap from Cher. 20. "How to Marry a Millionaire" We remember Lauren Bacall as a glamor girl with a damning grimace, but let's start revising that narrative to include her chops as a comic force.
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Streaming Now: 'Grace & Frankie,' 'Men in Black II,' and More

Not sure what to stream this weekend? The folks over at Netflix have a new series for you, starring comedy legends (and former "Nine to Five" costars) Lily Tomlin and Jane Fonda. Yep, the highly-anticipated "Grace and Frankie" hits the service Friday May 8, plus, there's more streaming entertainment out there to enjoy. Not only can you start binging Netflix's latest original, you can catch "Men in Black II" on Amazon and "The Birdcage" on Hulu. Allow Stream On to fill you in.
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