Jane Fonda on GCAPP, Grace and Frankie, and her favorite ex-husband

Shortly after you started GCAPP, you addressed Georgia’s teen pregnancy problem at the Capitol, where you receive a lukewarm reception from some lawmakers. Today, the success of the nonprofit means that people who once snubbed you are now asking for your help. Is that gratifying?
It is. It’s a different time now. People are more aware of the problem. The people on the front lines understand that the way to tackle teen pregnancy prevention is through programs that have been proven effective. When I first started, we only had tools like those Baby Think It Over dolls. A health teacher handed out a life-sized doll that would cry all the time. It was supposed to show you what it was like to live with a baby for a week. Any parent will tell you there’s a lot more to having a baby.

Still, as you pointed out in a recent New York Times Letter to the Editor, across rural southern states, there’s still a lot of work to be done. What’s the main obstacle GCAPP faces in those areas?
Poverty. Middle class kids know that there’s a future beckoning them that would be compromised by having a baby early in life. There’s a motivation that’s built in there. If you took a map of the United States or a map of Georgia and identified the pockets of poverty and overlaid it with the pockets of teen pregnancy, it would be the same. That’s why we refer to teen pregnancy as a generational transference of poverty.

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Robert Redford, Jane Fonda Teaming At Netflix On ‘Our Souls At Night’

Netflix is here at Toronto unveiling Beasts Of No Nation and chasing acquisition titles including the Michael Moore documentary Where To Invade Next. The streaming service is separately close to a deal that continues to press its program to make original theatrical quality films for its global streaming service. Netflix is in discussions to back an adaptation of the Kent Haruf novel Our Souls At Night that will be a starring vehicle for Robert Redford and Jane Fonda. Redford will produce, and the script is going to be written by Scott Neustadter & Michael H. Weber, the scripting team behind (500) Days Of Summer, The Fault In Our Stars, Paper Towns and The Spectacular Now. I hear this deal is far down the line and should close soon. Redford and Fonda starred in 1967’s Barefoot in the Park and 1979’s The Electric Horseman, and wanted to work together again.

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Review: GRANDMA ‘Lily Tomlin is a tour-de-force 27 years after her last starring role

Tomlin is a tour-de-force and her performance in the film should create the same kind of buzz that Michael Keaton’s did in last year’s “Birdman.” Writer-director Paul Weitz (About a Boy) introduces us to the film’s protagonist, poet Elle Reid (Tomlin), with an opening scene that features a breakup between Elle and her much younger girlfriend, Olivia (Judy Greer). It’s a bad first impression for the audience as we watch the bitter Elle reduce her lesbian lover to tears with lines like “you were a footnote” followed by a demand to leave the keys on the table. Minutes later a visibly upset Elle breaks down while in the shower, an indication that there is a lot more to this character than just a tenacious exterior.

It doesn’t take long to realize that Elle operates without a filter, but there are reasons for her acrimonious demeanor that have nothing to do with her age, her partner of 38 years, Violet, passed away just over a year ago and her relationship with her daughter, Judy (Marcia Gay Harden) is nonexistent. The bright side to Elle’s life is her granddaughter, Sage (Julia Garner), who pays Grandma a visit, but it’s far from just another social call.

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