NINE MINUTES OF WORDS ABOUT JOAN RIVERS

What do Lena Dunham, Barbra Streisand, Jeannie Berlin and Janeane Garafolo have in common?

The question in the post title can be easily answered: they've all played roles where they have romantic/sexual relationships with handsome leading men (in Ms. Berlin's case, I'm referring to the now-forgotten film SHEILA LEVINE IS DEAD AND LIVING IN NEW YORK from 1975, which paired her with Roy Scheider)--and were greeted with sexist putdowns for doing so.

Here's a link to the JEZEBEL on-line article re last night's GIRLS episode about Lena Dunham's brief encounter with Patrick Wilson:
http://jezebel.com/5983437/what-kind-of-guy-does-a-girl-who-looks-like-lena-dunham-deserve?utm_campaign=socialflow_jezebel_twitter&utm_source=jezebel_twitter&utm_medium=socialflow

When the words "grow up" are used as an epithet: re last night's episode of GIRLS

Excerpt from Todd VanDerWerff's AV CLUB article on the GIRLS episode "It's A Shame About Ray":
Throughout “It’s A Shame About Ray,” characters tell other characters to “grow up,” either literally in those words or just in general. Girls is a show about people who think that being grown up requires doing things a certain way—preparing pad Thai for your friends from scratch, getting married, having a house, moving on past a broken relationship—but they’re only starting to realize that nobody quite understands what being grown up means. It’s not an achievement you can unlock. It’s a thing you keep moving toward, until you’re old and perhaps experienced and realize just how little you knew back when. Put another way: I look back at the me of 10 years ago, the me who was 22 years old, and I think, “Jesus Christ, that guy was an idiot,” but I lack the self-awareness to know that 42-year-old me will look back on this version of myself and say, “What the fuck was he thinking?” Being grown up means being perfectly self-aware, and that’s almost impossible to achieve.

SUMMARY OF THE 2013 SUPER BOWL SPECTACLE

Jodie Foster's Golden Globes De Mille award speech means whatever you want it to mean.

I miss the unpretentious child/young adult actress Jodie Foster, great in just about everything from Scorsese films to TV guest shots to the now-forgotten musical TOM SAWYER to the also-forgotten CARNY (I still have to catch up with her performance in Adrian Lyne's FOXES).  I also miss the Jodie Foster who directed the not-as-well-known-as-it-should-be-now LITTLE MAN TATE.  I really miss the Jodie Foster who could win an Oscar for an anti-rape film like THE ACCUSED--and then turned into the high-minded Jodie Foster who made overreaching twaddle like NELL (chick a pea) and THE BRAVE ONE (apparently intended as a tasteful film on the chilling subject of vigilantism).  I supremely miss the Jodie Foster who, as a filmmaker, couldn't get a film about controversial Nazi-propagandist director/actress Leni Riefenstahl made--but at least tried.

The Jodie Foster who appeared at the Golden Globes to collect a career-achievement De Mille Award had some moments of genuine humanity (talking about her mother and praising her filmbiz colleagues)--mixed with blasts of fury at--as I parsed it--aging in Hollywood, the increasing triviality of celebrity culture and barely-concealed anger at years of being unable to cease gossip about her sexuality and keep her private life entirely private.

And perhaps the low point of Ms. Foster's speech occurred when she trotted out the now-easy-target-cliche Honey Boo Boo reference and hatefully mocked noncloseted celebrities for living "reality show" lives.

But a lot of people (both at the ceremony and watching it at home) seem to have mentally compartmentalized the Jodie Foster remarks--sifting the good from the less-edifying and absorbing the presence of one of the few women in the business with Genuine Power (although Lena Dunham, who came off quite likable in her two acceptance speeches--could have a Foster-esque career, in terms of current and possible future achievements as writer/director/producer/actress).