Died at 80
female
Diane Hall Keaton (born Diane Hall; January 5, 1946 – October 11, 2025) was an American actress, director and producer. Known for her idiosyncratic personality and fashion style, she received various accolades throughout her career spanning over six decades, including an Academy Award, a British Academy Film Award, two Golden Globe Awards, and the AFI Life Achievement Award. Keaton began her career on stage appearing in the original 1968 Broadway production of the musical Hair. The next year, she received a Tony Award for Best Featured Actress in a Play nomination for her performance in Woody Allen's comic play Play it Again, Sam. She then made her screen debut in a small role in Lovers and Other Strangers (1970). She rose to prominence with her first major film role as Kay Adams-Corleone in Francis Ford Coppola's The Godfather (1972), a role she reprised in its sequels The Godfather Part II (1974) and The Godfather Part III (1990). The films that most shaped her career were those with director and co-star Woody Allen, beginning with the film adaptation of Play It Again, Sam (1972). Her next two films with Allen, Sleeper (1973) and Love and Death (1975), established her as a comic actor. Her fourth, the romantic comedy Annie Hall (1977), won her the Academy Award for Best Actress. To avoid being typecast as her Annie Hall persona, she appeared in several dramatic films, starring in Looking for Mr. Goodbar (1977) and Allen's Interiors (1978), and received three more Academy Award nominations for playing feminist activist Louise Bryant in Reds (1981), a woman with leukemia in Marvin's Room (1996), and a dramatist in Something's Gotta Give (2003). Her other popular films include Manhattan (1979), Baby Boom (1987), Father of the Bride (1991), Manhattan Murder Mystery (1993), Father of the Bride Part II (1995), The First Wives Club (1996), The Family Stone (2005), Morning Glory (2010), Finding Dory (2016) and Book Club (2018).
Diane Keaton
Margaret Grace Ives (Old Age)
for Margaret Grace Ives (Old Age) in Great Big Beautiful Life
Suggested by raineneal
Alice Scott is an eternal optimist still dreaming of her big writing break. Hayden Anderson is a Pulitzer-prize winning human thundercloud. And they’re both on balmy Little Crescent Island for the same reason: To write the biography of a woman no one has seen in years--or at least to meet with the octogenarian who claims to be the Margaret Ives. Tragic heiress, former tabloid princess, and daughter of one of the most storied (and scandalous) families of the 20th Century. When Margaret invites them both for a one-month trial period, after which she’ll choose the person who’ll tell her story, there are three things keeping Alice’s head in the game. One: Alice genuinely likes people, which means people usually like Alice—and she has a whole month to win the legendary woman over. Two: She’s ready for this job and the chance to impress her perennially unimpressed family with a Serious Publication Three: Hayden Anderson, who should have no reason to be concerned about losing this book, is glowering at her in a shaken-to-the core way that suggests he sees her as competition. But the problem is, Margaret is only giving each of them pieces of her story. Pieces they can’t swap to put together because of an ironclad NDA and an inconvenient yearning pulsing between them every time they’re in the same room. And it’s becoming abundantly clear that their story—just like the tale Margaret’s spinning—could be a mystery, tragedy, or love ballad…depending on who’s telling it.
