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On the finale of their Fondavision miniseries, Emily and Danita try to wrap their heads around why someone as incredibly talented and charismatic as Jane Fonda would sign on to something as outrageously bad as 2014's This is Where I Leave You. After reviewing all the ways that movie could have treated Jane (and Kathryn Hahn and Rose Byrne) better, they launch into their Official Jane Rankings (hint: they have a very similar Top 6!) before offering a final word on what they learned from spending a year with the legendary actor and activist.

On the penultimate episode of WRLH's Fondavision miniseries, Danita and Emily hit the books with 1990's Stanley & Iris, a.k.a. the movie that supposedly made Jane Fonda leave acting for 15 years. Would this box-office bomb have succeeded if it chose a lane, focusing solely on the title characters' attempt to combat adult illiteracy (with a lil' romance still thrown in, of course)? Did John Williams actually go off with that overtly wistful score? Why don't more movies put Robert De Niro in glasses? What the heck was going on with Jane's wayward claw clips? And can someone please buy us an egg roll while we wait for our laundry to dry?

This week on WRLH! presents Fondavision, Emily & Danita need a tequila shot before watching (and talking about!) Sidney Lumet's The Morning After (1986). Was Jane drunk on set, or is that just an IMDb rumour? How much can one woman go through while perpetually hungover? Did this '80s thriller suffer from too much romance and not enough suspense? And most importantly, where can we get matching green velour suits?

Tonight on Fondavision (WRLH!'s miniseries dedicated to actor/activist Jane Fonda!), Danita and Emily have a lil' meltdown as they investigate 1979's The China Syndrome. Did this film, produced by and starring Jane, really start the war on nuclear power (a.k.a. "The Jane Fonda Effect"), or is that just another sexist conspiracy theory? How does journalist Kimberly Wells compare to depictions of other women whistleblowers like Karen Silkwood (who Jane wanted to make a film about!) and Erin Brockovich? And what in the hell happened to the humanistic political thriller? This and more at 11!

This week on another instalment of WRLH's Fondavision miniseries, Emily and Danita take a trip across multiple universes as they thrust themselves into the warped world of space-set sex bomb Barbarella (1968). Is it fair to call this orgasm machine of a film "feminist" when we know how damaging it was to Jane Fonda's personal and professional trajectory? Was Jane really drunk while shooting the opening striptease? Where does one procure a pink spaceship? And is it possible to enjoy this absolute trip of a movie without getting stoned out of your mind first?

This week on WRLH! presents Fondavision, Emily and Danita make it a special 2-for-1 episode with a double bill of California Suite and Coming Home. From revamping her image to making some of the most important films of her career, no one was busier than Jane in the late 1970s. So, how do these two very different roles from the same year fit into Jane's filmography? Would you rather live with Jane Fonda or Alan Alda? Is young Jon Voight hot? And while we love Hal Ashby, why was he so mad about *that* sex scene?

Danita and Emily are back from their winter break and ready to backflip into Jane Fonda's filmography! In this new episode of WRLH! miniseries Fondavision, they revisit the movie that Jane made to get her estranged father, Henry, an Oscar: 1981 sappy smash On Golden Pond. Did Jane really have beef with Katharine Hepburn on set, or is this another Debra Winger/Shirley MacLaine situation? How does Norman and Chelsea's strained relationship (which includes him ignoring her, criticizing her weight, and being unafraid to tell her he doesn't like her) compare to Jane and Henry's? And can this movie, which asks a "self-conscious" woman to forgive a grumpy old man who should know better, still stir up the same emotions today, when so many daughters of fathers have gone to therapy?

On this week's episode of We Really Like Her!'s FONDAVISION miniseries, Emily & Danita travel back in time to the depressing, depression-era La Monica Ballroom. What do today's reality shows have in common with the cruel dance marathons of the 1920s & '30s? How much did Jane draw from her personal life to craft the complex, cynical Gloria? And was this role the real catalyst for both the next decade of her career and her activism?

"Well now friends just lend an ear, for you're now about to hear ... the ballad of Cat Ballou!" On this week's episode of We Really Like Her!'s FONDAVISION miniseries, Danita and Emily ride into Wolf City, Wyomin' to hang with the infamous Cat Ballou. How did this zany, 1960s comedy-western (a favourite of Bryan Cranston and the Farrelly Brothers?) get away with giving Lee Marvin two scenery-chewing roles while Jane Fonda (who played the *titular* Cat) an underdeveloped one? Would it have been better as a full-fledged musical with Jane singing alongside the late, great Nat King Cole and Stubby Kaye? And which young starlet could play Cat in a reboot where, hopefully, the so-called "wildest gal in the West" actually takes the reins?

Get thee to a nunnery as this week's episode of FONDAVISION (a Jane Fonda miniseries from WRLH!) takes Emily and Danita to heaven and hell and back. Yes, it's time to talk 1985 nun-centric "neo-noir" AGNES OF GOD, which sees Jane playing a slightly unethical psychiatrist who is trying to help a sister (an incredibly committed Meg Tilly) out with her minor baby murder problem. What is this movie trying to say about sexual abuse within the church, if at all? Is this the most Jane has ever smoked in a movie (and with Anne Bancroft, natch)? And what's this about her and cinematographer Sven Nykvist having their own sinful confessionals between takes?!?

After workin' 9 to 5, Danita and Emily are clocking back in with another politically charged film about workplace hazards: Tout va bien (1972). All is NOT well as they investigate how the sausage was made on this anti-capitalist film about class wars in France. Were Jean-Luc Godard and Jean-Pierre Gorin really just using Jane as a prop for their political agendas, or was this a film that Jane simply needed to make as she made a very pivotal turn in her personal and professional life? What is with Jane's obsession with playing journalists? And, most importantly, were all of her character's outfits ripped from her closet in Klute?

Emily and Danita are back on the clock with an all-new episode of Fondavision, WRLH!'s special series dedicated to ACTor and ACTivist Jane Fonda! Pour yourself a cup of ambition and pull up a chair as they revisit 9 to 5, the classic workplace comedy that truly wouldn't have made it past the interview stage if not for Jane. How does the film's office politics compare to current struggles for equity? Will we ever see a sequel (or at least an episode of Grace & Frankie with Dolly)? And, most importantly, what the hell is that milky cocktail Jane is drinking in the bar scene??

We saw so many great movies directed by women at TIFF21 that we couldn't fit them all into one episode! Reporting post-festival, we get into Jane Campion's The Power of the Dog, Mia Hansen-Løve's Bergman Island, Betsy West & Julie Cohen's Julia, and Justine Bateman's Violet. Meanwhile, if you've been wondering about the return of FONDAVISION, we're back on October 13 with the comedy classic 9 to 5. We also want to say THANK YOU to everyone who came out to Wayne's World, our first screening back at the Revue Cinema. Our next IRL event is on October 27 & we're showing the essential Jennifer's Body. If you're in Toronto, you can get tickets here: https://bit.ly/2ZI1RlH See you then, friends!

After a short summer hiatus, we're back! Dispatching from the Toronto International Film Festival, your trusty (and tired!) co-hosts have been watching a lot of movies directed by women - at home and IRL! This week, we are covering the Best of the Fest so far: Penny Lane's delightful LISTENING TO KENNY G, Céline Sciamma's emotional PETITE MAMAN, Danis Goulet's powerful NIGHT RAIDERS, Ruth Paxton's eerie A BANQUET, Jenna Cato Bass' spooky MLUNGU WAM, and Julia Ducournau's killer TITANE.

In an all-new episode of Fondavision, Emily and Danita get hung up on Bree Daniels, the true star and subject of the neo-noir classic Klute (1971). Why is fruit so titillating? Is Emily a True Freak for listening to the spine-tingling soundtrack on repeat? Was Bree *actually* faking it with John Klute? Can long-time "friend of the podcast" Ann Roth style us for the fall season? And will this authentic portrayal of a complicated woman who goes to therapy go down in history as Jane Fonda's most important and influential role ever?

From Bob and Jane to Don and Jane! In an all-new Fondavision, Emily and Danita escape with the rag-tag team of ex-cons of Steelyard Blues (1973), the second on-screen collab between Jane Fonda and Donald Sutherland. Is this scatterbrained comedy worth watching outside of the truly electric chemistry between the aforementioned former power couple? How did future Everybody Loves Raymond star Peter Boyle get a better wig budget than Jane? And will Danita ever stop listening to the zany soundtrack that stood in for any semblance of plot development?

In the finale of Fondavision's Bob & Jane trilogy, WRLH! co-hosts Danita and Emily take a ride with The Electric Horseman (1979)! Is this western romance co-starring Willie Nelson the Ultimate Robert Redford/Jane Fonda Experience? Where does one get a purple light-up get-up like Sonny Steele wears? Has Bradley Cooper, famed director of A Star is Born (2018), seen this film? And where does this story about a man, a woman and a show pony fit in with Jane's overall legacy as an actor/activist?

Have some more fun with Bob and Jane as Danita and Emily take on the most recent (and final?) Redford/Fonda collab: 2017's Our Souls at Night! How has Jane's chemistry with her favourite co-star evolved over the years? How does this Netflix original compare to Danita's favourite movie, TIFF 2018 selection The Old Man & the Gun? And what the hell was Young Sheldon doing in this tender film about finding love and connection in old(er) age?

Newlywed month continues with FONDAVISION's first foray into the Jane Fonda/Robert Redford canon: Barefoot in the Park (1967)! Does this Neil Simon rom com hold up aside from the TRULY UNREAL chemistry between "frequent collaborators" Jane and Bob? Why didn't they just put some cardboard on that damn skylight? And can we talk about Jane's timeless wardrobe courtesy of the legendary Edith Head?

This week on FONDAVISION ... Jane Fonda doing her best Blanche DuBois in a sub-textually queer film from the writer of Funny Girl (the play and film)! Listen in as Emily and Danita navigate Tennessee Williams adaptation Period of Adjustment (1962), which features one of Jane's earliest on-screen performances. Is this black-and-white MGM picture just another silly pitstop on Jane's way to serious superstardom, or does it have some sneakily forward-thinking themes that would steer the course of her career forevermore?