Age: 88
female
Jane Seymour Fonda (born December 21, 1937) is an American actress, activist, and former fashion model. She is the recipient of various accolades including two Academy Awards, two British Academy Film Awards, seven Golden Globe Awards, a Primetime Emmy Award, the AFI Life Achievement Award, the Golden Lion Honorary Award, the Honorary Palme d'Or, and the Cecil B. DeMille Award. Born to socialite Frances Ford Seymour and actor Henry Fonda, Fonda made her acting debut with the 1960 Broadway play There Was a Little Girl, for which she received a nomination for the Tony Award for Best Featured Actress in a Play, and made her screen debut later the same year with the romantic comedy Tall Story. She rose to prominence during the 1960s with the comedies Period of Adjustment (1962), Sunday in New York (1963), Cat Ballou (1965), Barefoot in the Park (1967), and Barbarella (1968). Her first husband was Barbarella director Roger Vadim. A seven-time Academy Award nominee, she received her first nomination for They Shoot Horses, Don't They? (1969), and went on to win the Academy Award for Best Actress twice in the 1970s, for Klute (1971) and Coming Home (1978). Her other nominations were for Julia (1977), The China Syndrome (1979), On Golden Pond (1981), and The Morning After (1986). Consecutive hits Fun with Dick and Jane (1977), California Suite (1978), The Electric Horseman (1979), and 9 to 5 (1980) sustained Fonda's box-office drawing power, and she won a Primetime Emmy Award for her performance in the TV film The Dollmaker (1984). In 1982, she released her first exercise video, Jane Fonda's Workout, which became the highest-selling VHS of the 20th century. It would be the first of 22 such videos over the next 13 years, which would collectively sell over 17 million copies. Divorced from her second husband Tom Hayden, she married billionaire media mogul Ted Turner in 1991 and retired from acting, following a row of commercially unsuccessful films concluded by Stanley & Iris (1990). Fonda divorced Turner in 2001 and returned to the screen with the hit Monster-in-Law (2005). Although Georgia Rule (2007) was her only other movie during the 2000s, in the early 2010s she fully re-launched her career. Subsequent films have included The Butler (2013), This Is Where I Leave You (2014), Youth (2015), Our Souls at Night (2017), and Book Club (2018). In 2009, she returned to Broadway after a 49-year absence from the stage, in the play 33 Variations which earned her a nomination for the Tony Award for Best Actress in a Play, while her major recurring role in the HBO drama series The Newsroom (2012–14) earned her two Primetime Emmy Award nominations. She also released another five exercise videos between 2009 and 2012. Fonda currently stars as Grace Hanson in the Netflix comedy series Grace and Frankie, which debuted in 2015 and has earned her nominations for a Primetime Emmy Award and three Screen Actors Guild Awards.
Jane Fonda
Margaret Grace Ives (Old Age)
for Margaret Grace Ives (Old Age) in Great Big Beautiful Life
Suggested by vzzzzzzz
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.
