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Transcript: Meryl Streep’s Golden Globes speech

The text of Meryl Streep’s speech at the Golden Globes after accepting the Cecil B. DeMille Award, according to a transcript provided by Hollywood Foreign Press Association:

Thank you very much. Thank you very much. Thank you. This town, thank you. I love you all, but you’ll have to forgive me. I’ve lost my voice in screaming and lamentation this weekend, and I have lost my mind sometime earlier this year. So I have to read. Thank you, Hollywood Foreign Press, just to pick up on what Hugh Laurie said. You and all of us in this room really belong to the most vilified segments in American society right now. Think about it: Hollywood, foreigners and the press.

But who are we? And what is Hollywood anyway? It’s just a bunch of people from other places. I was born and raised and educated in the public schools of New Jersey. Viola was born in a sharecropper’s cabin in South Carolina, came up in Central Falls, Rhode Island. Sarah Paulson was born in Florida, raised by a single mom in Brooklyn. Sarah Jessica Parker was one of seven or eight kids from Ohio. Amy Adams was born in Vicenza, Veneto, Italy. And Natalie Portman was born in Jerusalem. Where are their birth certificates? And the beautiful Ruth Negga was born in Addis Ababa, Ethiopia, raised in — no — in Ireland, I do believe, and she’s here nominated for playing a small-town girl from Virginia. Ryan Gosling, like all the nicest people, is Canadian. And Dev Patel was born in Kenya, raised in London, is here for playing an Indian raised in Tasmania. So Hollywood is crawling with outsiders and foreigners, and if we kick them all out, you’ll have nothing to watch but football and mixed martial arts, which are not the arts.

They gave me three seconds to say this. So an actor’s only job is to enter the lives of people who are different from us and let you feel what that feels like, and there were many, many, many powerful performances this year that did exactly that, breathtaking, compassionate work. But there was one performance this year that stunned me. It sank its hook in my heart not because it was good. It was — there was nothing good about it, but it was effective, and it did its job. It made its intended audience laugh and show their teeth. It was that moment when the person asking to sit in the most respected seat in our country imitated a disabled reporter, someone he outranked in privilege, power, and the capacity to fight back. It kind of broke my heart, and I saw it, and I still can’t get it out of my head because it wasn’t in a movie. It was real life. And this instinct to humiliate when it’s modeled by someone in the public platform by someone powerful, it filters down into everybody’s life because it kind of gives permission for other people to do the same thing.

Disrespect invites disrespect. Violence insights violence. When the powerful use definition to bully others, we all lose. Ok. Go on with that thing. OK. This brings me to the press. We need the principal press to hold power to account to call them on the carpet for every outrage.

That’s why our founders enshrined the press and its freedom in our Constitution. So I only ask the famously well-heeled Hollywood Foreign Press and all of us in our community to join me in supporting the Committee to Protect Journalists because we are going to need them going forward and they’ll need us to safeguard the truth.

One more thing. Once when I was standing around on the set one day, whining about something, you know, we were going to work through supper or the long hours or whatever, Tommy Lee Jones said to me, “Isn’t it such a privilege, Meryl, just to be an actor?” Yeah, it is, and we have to remind each other of the privilege and the responsibility of the act of empathy. We should all be very proud of the work Hollywood honors here tonight. As my friend, the dear departed Princess Leia said to me once, “Take your broken heart. Make it into art.” Thank you, friend.

‘Deadpool’ in, ‘Silence’ out and more Globes film surprises

The Hollywood Foreign Press Association never fails to disappoint with their assortment of nominees, which always seem to include some expected picks, some inspired ones and some headscratchers too.

The nominations for the 74th annual Golden Globes certainly had some bombshells, too. Here are a few notable snubs and surprises.


Past Globes glory didn’t seem to matter this year for Hollywood legends Clint Eastwood, Martin Scorsese and Warren Beatty, none of whom received directing nominations despite all having won in that category at least once. In fact, Eastwood’s “Sully” (that means no Tom Hanks nomination either) and Scorsese’s “Silence” were shut out completely, while Beatty’s big return to directing and acting, “Rules Don’t Apply,” scored only one nomination — for actress Lily Collins.


Whit Stillman’s Jane Austen adaptation “Love & Friendship” charmed audiences and critics, but was left without a single nomination — especially surprising in the case of Kate Beckinsale, whose performance as the conniving and ambitious Lady Susan Vernon has been widely regarded as one of her best. Instead, in the musical or comedy category, the HFPA singled out the little-seen John Carney musical “Sing Street.”


Besides being a superhero movie, the irreverent and very R-rated “Deadpool” is about as far away as one can get from a stereotypically tasteful awards choice, but somehow still scored two nominations — one for best motion picture in the musical or comedy category and another for star Ryan Reynolds. Perhaps they draw the line at animated food orgy, though — “Sausage Party,” despite a big awards push, was left out of the fun.


The comedy and drama distinction always allows for a few out-of-nowhere contenders, but the best performance by an actor in a musical or comedy was stacked with unexpected picks, including Colin Farrell for his performance as a single guy looking for love in the dark as night comedy “The Lobster,” Ryan Reynolds for “Deadpool,” and Jonah Hill as a bro arms dealer in the generally panned “War Dogs.” In the supporting category, Aaron Taylor-Johnson sneaked in with a nod for his portrayal of a sadistic Texan in “Nocturnal Animals” and Simon Helberg for his crowd-pleasing piano player in “Florence Foster Jenkins,” which elicited a gasp from those in the room at the Beverly Hilton while the nominations were being announced.


“Miss Sloane,” the Jessica Chastain-led lobbying thriller, might have bombed at the box office this weekend and received generally tepid reviews from critics, but it didn’t stop the HFPA taking notice of Chastain’s performance as the always three steps ahead of the competition Elizabeth Sloane. Since 2012, Chastain has been nominated for four Golden Globes and won once, in 2013, for “Zero Dark Thirty.”


With the statistics of female representation behind the camera as dismal as they are, it might not be that much of a surprise to find zero films directed by women up for best picture or best director this year. Yet it is notable, especially with critically acclaimed fare like Andrea Arnold’s “American Honey” and Mira Nair’s “Queen of Katwe,” both of which were shut out completely. The one saving grace is in the foreign category, where Maren Ade’s comedy “Toni Erdmann” is the nominee from Germany and Uda Benyamina’s “Divines” is nominated from France.

Golden Globes reward TV pioneers, ordain Oscar-ready films

Film moguls and stars would like you to think the Golden Globes are all about them, with television getting a seat at the table out of courtesy. Yet this year, the Hollywood Foreign Press Association’s annual awards gala, held Sunday, proved what armchair critics have increasingly discovered over the past few years — it’s on TV networks that the boldest stories are being told.

Or, in the more succinct words of hosts Tina Fey and Amy Poehler: “Movies: Awesome. TV: Better!”

In a year where film awards went to the expected contenders — the unstoppable Boyhood claimed three awards, including best motion picture drama, on its way to the Oscars, and the only true surprise was Wes Anderson’s The Grand Budapest Hotel edging out Birdman for best motion picture comedy — the television categories were packed to the gills with surprises. Every winner in an acting category took home their first statue, many for their first nomination altogether. And the top prizes of the night, best drama series and best comedy series, went to Showtime’s The Affair and Amazon’s Transparent, validating awards for both freshmen series.

The impact is almost certainly bigger for Transparent. The Globe marks a win both for Amazon as it ventures into the streaming TV landscape carved out by Netflix and for the transgender community at large. The series features Jeffrey Tambor (a winner as well, for best actor) as Maura, a transgender woman who finally admits her gender identity to her family and begins the process of transitioning. 

Both Tambor and Transparent producer/writer Jill Soloway dedicated their awards to the trans community, with Soloway specifically mentioning suicide victim Leelah Alcorn and hoping that “maybe we’ll teach the world something about authenticity, and truth, and love.”

Other major TV victories include the CW network taking home its first-ever Golden Globe, won by Gina Rodriguez for her role as an accidentally impregnated woman in Jane the Virgin. But that success for the network (further sweetened at the end of the night, when it was determined that no other traditional broadcast network would take home a prize) was overshadowed by the cultural impact Rodriguez acknowledged her win would have for the Latino/a community, saying “This reward is so much more than myself. It represents a culture that wants to see themselves as heroes.”

Later in the broadcast, Kevin Spacey received his first Golden Globe after seven nominations, for his starring role in House of Cards on Netflix, and HBO’s True Detective anthology series was again snubbed in favor of FX’s Fargo. The latter also snagged a best actor win thanks to Billy Bob Thornton. HBO did end up with another win for The Normal Heart, a best supporting actor win for Matt Bomer.

By and large, the film awards at the Globes served their usual function as a precursor to the Oscars, scheduled for late February. Eddie Redmayne and Michael Keaton took home best actor trophies, setting up their expected duel at the Academy Awards, and best actress and best supporting actress frontrunners Julianne Moore and Patricia Arquette won their Golden Globes equivalents early in the evening.

But The Grand Budapest Hotel shifted the conversation, giving director Wes Anderson his most mainstream accolade yet with its win for best comedy motion picture. The film is now almost a shoe-in for a best picture nomination at the Oscars, and may bode ill for Birdman’s chances, despite the film picking up Globes for Keaton’s performance and its screenplay.

Fey and Poehler opened the show for their third and final time in a row, although their appearances throughout the show itself were sporadic. In the vein of previous appearances, their monologue left no subject unscathed, from controversial news topics like North Korea’s hack of Sony and the allegations against Bill Cosby to members of the audience, including Emma Stone, Joaquin Phoenix, Steve Carrell and George Clooney, who received a lifetime achievement award at the ceremonies.

The full list of winners at the ceremony include:


Best Motion Picture, Drama: Boyhood

Best Motion Picture, Musical or Comedy: The Grand Budapest Hotel

Best Director – Motion Picture: Richard Linklater, Boyhood

Best Actor in a Motion Picture, Drama: Eddie Redmayne, The Theory of Everything

Best Actress in a Motion Picture, Drama: Julianne Moore, Still Alice

Best Actor in a Motion Picture, Musical or Comedy: Michael Keaton, Birdman

Best Actress In A Motion Picture, Musical or Comedy: Amy Adams, Big Eyes

Best Supporting Actor in a Motion Picture: J.K. Simmons, Whiplash

Best Supporting Actress in a Motion Picture: Patricia Arquette, Boyhood

Best Screenplay – Motion Picture: Alejandro González Iñárritu, Nicolás Giacobone, Alexander Dinelaris, Armando Bo, Birdman

Best Foreign Language Film: Leviathan

Best Animated Feature Film: How to Train Your Dragon 2

Best Original Score – Motion Picture: Jóhann Jóhannson, The Theory of Everything

Best Original Song – Motion Picture: “Glory,” Selma


Best TV Series, Drama: The Affair (Showtime)

Best TV Series, Musical or Comedy: Transparent (Amazon)

Best TV Movie or Mini-Series: Fargo (FX)

Best Actress in a TV Series, Drama: Ruth Wilson, The Affair (Showtime)

Best Actor in a TV Series, Drama: Kevin Spacey, House of Cards (Netflix) 

Best Actress in a TV Series, Musical or Comedy: Gina Rodriguez, Jane the Virgin (The CW)

Best Actor in a TV Series, Musical or Comedy: Jeffrey Tambor, Transparent (Amazon)

Best Actress in a Mini-Series or TV Movie: Maggie Gyllenhaal, The Honorable Woman (SundanceTV)

Best Actor in a Mini-Series or TV Movie: Billy Bob Thornton, Fargo (FX)

Best Supporting Actress in a Series, Mini-Series or TV Movie: Joanne Froggatt, Downton Abbey (PBS)

Best Supporting Actor in a Series, Mini-Series or TV Movie: Matt Bomer, The Normal Heart (HBO)

Should his and her Oscars be done away with?

Do Meryl Streep, Anne Hathaway and Helen Mirren need affirmative action to snare one of Hollywood’s favorite accessories, an Oscar, Emmy or Screen Actors Guild trophy?

In a society tilting steadily toward gender neutrality, the separate-but-equal awards that divide actors into one camp and actresses into another have the whiff of a moldy anachronism.

True, the Association for Women in Science gives honors to encourage female participation and success in male-dominated fields. But to mark enduring achievements, would its members ever yearn for a Women’s Nobel Prize in physics?

In contests of intellect or artistry, should gender ever matter?

“It’s not like it’s upper body strength,” Gloria Steinem dryly observed of the requirements of acting.

The separate labeling of male and female performers is losing favor in the industry. Actresses often swat the distinction away by calling themselves “actors,” standing shoulder to shoulder with their male counterparts.

Usherettes are long gone from movie theater lobbies, after all. And defense officials said Wednesday the Pentagon will be lifting its ban on women in combat.

SAG, which holds its awards ceremony Sunday, edged toward neutrality with its trophy dubbed the Actor, although the guild gives separate honors to best performance by a male actor and by a female actor.

That cracks the door open, but only slightly. Fling it wide so that Daniel Day-Lewis’ majestic performance in “Lincoln” and Jessica Chastain’s steely turn in “Zero Dark Thirty” vie for the grand prize!

“That’s a great idea,” said Mark Andrews, writer-director of the animated film “Brave.” “At the end of the day, we’re all storytellers, and I don’t think when we’re defining a character that the gender is the major defining factor.”

In all other awards-eligible fields, including directing, writing or cinematography, everyone is “going for it,” male and female alike, Andrews said.

That may be progress in theory for performers but not in practice, according to Sally Field, a SAG and Oscar best supporting actress nominee for “Lincoln.”

“If you do that you won’t see any actresses up there (on stage) at all,” she said. “The percentage of roles is so weighted toward actors. That’s the way it’s always been.”

Exactly, concurred Naomi Watts, “The Impossible” best actress SAG and Academy Award nominee.

“There’s so much competition in life and I do think we are different,” she said. “Yes, we should be able to have the same things as much as possible … (but) life’s a battle already and there’s so many great roles written for men. Women are definitely at a disadvantage when it comes to volume.”

Rapper Nicki Minaj, who’s considering launching an acting career, has a pragmatic take on the issue.

“You see all those divas in the audience looking so pretty, and they all want to beat each other out,” she said. “It’s entertainment.”

Hathaway, in the running for SAG and Oscar supporting actress honors for “Les Miserables,” considers the gender split “an awesome question worthy of an awesome debate.”

“Can I conceive of a world where performance becomes a genderless concept? Absolutely. Do I think it’s going to happen anytime soon? No,” she said.

As Fields pointed out, the bedrock challenge is that women get fewer substantive roles than men. Ironically, that’s obscured by the artificial parity on stage each year at awards shows. Five women compete, five men compete, two winners are crowned.

So what’s the problem? A quick numbers check makes it clear: Females comprised about a third of the characters in the 100 top-grossing films in 2011, according to the Center for the Study of Women in Television and Film at San Diego State University.

This, despite the fact women make up slightly more than half of the U.S. population and, according to the center’s previous research, the finding isn’t an anomaly.

In this context, feminist leader Steinem sees legitimate reason to retain separate acting awards. When two unequal groups are combined it’s the less-powerful one that loses, she said, as when 20th-century U.S. school desegregation lead to mass layoffs of black principals and administrators.

Tom O’Neil, editor of the Gold Derby awards prediction site, said strong forces are arrayed against any such change in Hollywood.

Awards shows routinely try to add celebrity-driven categories, not drop them, to increase a show’s “glamor and glitz” quotient, he said, as well as mask the industry’s unequal treatment of women.

“It’s criminal,” he said, bluntly.

In the behind-the-scenes film and TV categories in which the sexes compete, women rarely make it on stage at awards ceremonies. The Oscars started in 1929, but it wasn’t until 2010 that the first woman, Kathryn Bigelow, was honored as best director (for “The Hurt Locker”). Statistics again provide clarity: Women made up a paltry 9 percent of the directors on 2012’s top-grossing films, a new San Diego State University study found.

Let’s give two-time Oscar winner Field the last word in this debate.

Actresses “should be in their own category because they ARE in their own category,” she said. “They face their own specific kind of difficulties surviving in this business that actors, bless their hearts, don’t face.”

Gay community’s reaction mixed on Jodie Foster’s (sort of) coming-out speech

Was it a proud revelation, or an impassioned case for privacy? A coming-out speech, or a why-SHOULD-I-come-out speech? Too little and too late, or just enough?

Jodie Foster’s rambling, fascinating and intensely personal remarks at the Golden Globes were not merely the watercooler moment of the ceremony. They were a big moment for the gay community, and many advocates – though not all – were cheering her on Monday for finally referring publicly to her sexual orientation, albeit in her own particular way.

While some were criticizing the actress for not uttering the words “gay” or “lesbian,” and for waiting decades to come out at all, others were saying she deserved to come out in any way she chose, and with any words she happened to favor.

“No doubt, she was partly speaking in code, and she may never have wrapped her words around the fact that she is a lesbian,” said Fred Sainz of the Human Rights Campaign, a national gay rights group. “But everyone watching clearly understood that she was communicating to people that she is gay. She is to be congratulated, no matter how awkward or inarticulate it may have seemed to some. It took an awful lot of courage.”

The moment that Foster, a 50-year-old Oscar winner for “The Silence of the Lambs” and “The Accused,” took the stage to accept the Cecil B. DeMille Lifetime Achievement Award, it was clear she wasn’t going to give a run-of-the-mill speech. The huge roomful of TV and movie stars fell rapt with attention.

“I guess I have a sudden urge to say something that I’ve never really been able to air in public,” said the actress and director, long known for being fiercely private. She suggested she had something to say that would make her publicist nervous.

“But, you know, I’m just going to put it out there, right? Loud and proud, right? So I’m going to need your support on this,” she said. Then, after a pause: “I am single.”

After some laughter, she added: “Seriously, I hope that you’re not disappointed that there won’t be a big coming-out speech tonight because I already did my coming-out about a thousand years ago back in the Stone Age.” (A few of her words early in the speech were dropped by the censor; NBC said it was because Foster had uttered the word “Jesus.”)

After joking that celebrities are now expected to reveal they’re gay “with a press conference, a fragrance and a prime-time reality show,” the actress quipped: “I am not Honey Boo Boo Child. No. I’m sorry. That’s just not me.” And then, more defiantly: “If you had been a public figure from the time that you were a toddler, if you’d had to fight for a life that felt real and honest and normal against all odds, then maybe you, too, might value privacy above all else.”

Sainz, who is vice president of communications at the HRC, said he understood the claim to privacy. “She wants to be judged on her merits as a director and actress and not necessarily by her private life,” he said. “This shouldn’t be the headline of her illustrious career – it’s a footnote.”

The privacy argument has come up in other recent instances of celebrities coming out. Last summer, CNN journalist Anderson Cooper confirmed he is gay after years of reluctance to go public. He said that, as a reporter, he had wanted to keep his orientation private for professional reasons, but finally realized that “visibility is important.”

Soon after, R&B star Frank Ocean announced on his Tumblr page that his first love was a man. “I don’t have any secrets I need to keep anymore,” Ocean wrote. And that same month, when pioneering astronaut Sally Ride died, her orientation was disclosed posthumously in an obituary she wrote with her partner of 27 years, Tam O’Shaughnessy. Some were supportive that Ride had chosen privacy in her lifetime; others were not.

On The Huffington Post’s “Gay Voices” page on Monday, entertainment writer Deb Baer called Foster a “coward” and said she “could have helped millions of people by coming out years ago.”

“Why am I so angry?” Baer wrote. “Because I’m roughly the same age as Jodie, and yet I had the courage to come out exactly 20 years ago.” She added: “The ‘privacy’ excuse is just that: An excuse.”

The editor of “Gay Voices,” Noah Michelson, said Baer’s view was in the minority – most of his site’s followers were very happy with Foster’s action, he noted – but that he himself had problems with her speech.

“She did it with a sort of bitterness, a hesitation,” he said. “It was almost like she was being pulled out of the closet, like she HAD to do it.” It didn’t really matter, he said, that Foster was an intensely private person.

“I do think queer people who are famous should be out,” he said. “I have the same expectations of all people who are famous. People forget that gay kids today are still killing themselves. So we are not at a place where it doesn’t matter whether people come out or not.”

One of Foster’s online critics was actor and playwright Harvey Fierstein, who wrote on his Facebook page: “Trying desperately to be fair to JODI FOSTER, but what she did last night by standing in front of millions of people and being too ashamed to say the word lesbian or gay sent the message that being gay is something of which to be ashamed.”

But Wilson Cruz, a former TV actor who came out publicly at 19 – he’s now 39 – and is a spokesman at GLAAD, the Gay & Lesbian Alliance Against Defamation, said he viewed the situation as more complicated. At first, he had posted a comment critical of Foster on Facebook. He spoke to The Associated Press after further reflection.

“The way people come out today is very different than 10, 15 years ago,” he said. “Then it was an act of political activism. Now, it’s less of a political statement.” He added that Foster “has a level of stardom that I cannot imagine, so I can’t imagine the pressure. She also has children that she had to think about. She came out when she was ready. She did it her way.”

But Cruz, who played a gay teen on the show “My So-Called Life” in the ’90s, said that now, Foster has an opportunity she should not squander.

“She can talk to young people,” he said. “She has the opportunity – not to overstate it, but she has the opportunity to save lives.”

Jodie Foster accepts achievement award, thanks ex-partner and soul-sister. Video

Jodie Foster delivered a show-stopping speech at the Golden Globe Awards on Jan. 13 that many are referring to as a coming out moment – though there have been other such moments for the actress in recent years, reaffirming the notion that coming out is a lifelong process.

Foster took the stage as this year’s winner of the Cecil B. DeMille Lifetime Achievement Award, which had been announced previously. But her acceptance speech was anything but predictable as the veteran actress seized control of what is every year a noisy, boozy ballroom; the crowd of A-listers quickly quieted down as it became apparent that she had something serious and important to say.

The 50-year-old Oscar-winner for “The Silence of the Lambs” and “The Accused,” who’s been protective of her private life and reluctant to discuss her sexual orientation, was coy at first, suggesting she had a big announcement that would make her publicist nervous (the broadcast audio dropped out at this point, but for no apparent reason; nothing was said off-color). Then she stated: “I’m just going to put it out there, loud and proud … I am, uh, single,” pausing for dramatic effect before that last word. “I hope you’re not disappointed that there won’t be a big coming-out speech tonight. …

“I already did my coming out about a thousand years ago back in the stone age in those very quaint days when a fragile young girl would open up to trusted friends and family, and co-workers and then gradually, proudly to everyone who knew her, to everyone she actually met.”

Foster joked that celebrities are now expected to reveal they’re gay “with a press conference, a fragrance and a prime-time reality show. And you guys might be surprised, but I am not Honey Boo Boo Child. No. I’m sorry. That’s just not me. It never was and it never will be. But please don’t cry, because my reality show would be so boring.”

She added defiantly: “If you had been a public figure from the time that you were a toddler, if you’d had to fight for a life that felt real and honest and normal against all odds, then maybe you, too, might value privacy above all else.”

Foster thanked Cydney Bernard, a production manager, her former partner of 20 years – a relationship she never hid and from which she has two sons. In 2007, Foster talked about her relationship with Bernard.

In the speech, Foster said, “There is no way I could ever stand here without acknowledging one of the deepest loves of my life, my heroic co-parent, my ex-partner in love but righteous soul sister in life. My confessor, ski buddy, consigliere, most-beloved BFF of 20 years, Cydney Bernard. Thank you Cyd. I am so proud of our modern family, our amazing sons Charlie and Kit, who are my reason to breathe, and to evolve, my blood and soul. And boys, in case you didn’t know it, this song, like all of this, this song is for you.”

She also made it sound as if she planned to retire from acting once and for all, something she’d toyed with previously.

“This feels like the end of one era and the beginning of something else. Scary and exciting, and now what?” Foster said. “I may never be up on this stage again, on any stage, for that matter.”

But backstage afterward, she clarified for reporters: “I could never stop acting. You’d have to drag me behind a team of horses. I’d like to be directing tomorrow. I’m more into it than I have ever been.”

As for why she chose this place and time to discuss her private life, Foster explained backstage: “The speech kind of speaks for itself. … It’s a big moment. I wanted to say what’s most in my heart.”

Her revelation, vague as it was, nonetheless set Twitter on fire with reactions. Some called her words moving and brave while others suggested that she should have done more to be a role model for lesbians.

Ricky Martin, who came out himself in 2010, tweeted: “Jody Foster On your terms. Its your time! Not before nor after. Its when it feels right.”

And Amy Poehler, who co-hosted the Golden Globes with longtime friend and fellow comedian Tina Fey, cracked as she was signing off for the night: “We’re going home with Jodie Foster!”

Responding to Foster’s speech, Herndon Graddick of the Gay and Lesbian Alliance Against Defamation said, “When one of the most critically-praised actresses speaks about her identity and relationships on one of the largest stages in the world, it shows just how much the tide has turned. Given Jodie Foster’s lifetime of achievements, this is a significant moment for LGBT visibility. As more and more high-profile LGBT people like Jodie speak openly, those who do not accept LGBT people will continue to fall behind the times.”

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