Tuesday 16 February 2016

lista muzyczna




Nagrody Grammy 2016 rozdane. Tjak! Slyszalam.  Lady zGaga oddala hold David`owi Bowie`mu. Oczywiscie wystep sie udal. W to nie zaprzeczam. Reszta nominowanych, gwiazd i ludzi przemyslu muzycznego.... Tu juz milcze. 
Wystep Lady Gagi to komplikacja utworow niedawno zmarlego Bowie`go takich jak Fame, Heroes, Let`s dance. Calosc koncertu Gagi wyrezyserowal Nile Rodgers, przyjaciel Bowie`go. Obaj pracowali nad jednym z najslynniejszych albumow Let`s dance z roku 1983.
Sam Bowie posiadal dwie nagrody Grammy. Powtarzam Dwie w przeciagu 50 lat?
Oto lista dziel wyroznionych nagrodami- 
Panie, chron nasze uszy przed niektorymi z  listy!



Record of the Year:
  • "Really Love" D'Angelo and the Vanguard
  • "Uptown Funk" Mark Ronson feaT. Bruno Mars
  • "Thinking Out Loud" Ed Sheeran
  • "Blank Space" Taylor Swift
  • "Can't Feel My Face" the Weeknd
Album of the Year
  • "Sound & Color" Alabama Shakes
  • "To Pimp a Butterfly" Kendrick Lamar
  • "Traveller" Chris Stapleton
  • "1989" Taylor Swift
  • "Beauty Behind the Madness" the Weeknd
Song of the Year
  • "Alright" - Kendrick Duckworth Mark Anthony Spears & Pharrell Williams 
  • "Blank Space" - Taylor Swift
  • "Girl Crush" - Hillary Lindsey
  • "See You Again" - Wiz Khalifa & Charlie Puth
  • "Thinking Out Loud" Ed Sheeran
New Artist
  • Courtney Barnett
  • James Bay
  • Sam Hunt
  • Tori Kelly
  • Meghan Trainor
Pop Solo Performance
  • "Heartbeat Song" Kelly Clarkson
  • "Love Me Like You Do" Ellie Goulding
  • "Thinking Out Loud" Ed Sheeran
  • "Blank Space" Taylor Swift
  • "Can't Feel My Face," the Weeknd
Pop Duo/Group Performance
  • "Ship to Wreck" Florence + the Machine
  • "Sugar" Maroon 5
  • "Uptown Funk," Mark Ronson feat. Bruno Mars
  • "Bad Blood" Taylor Swift feat. Kendrick Lamar
  • "See You Again" Wiz Khalifa feat. Charlie Puth
Traditional Pop Vocal Album
  • The Silver Lining: The Songs Of Jerome Kern - Tony Bennett & Bill Charlap Shadows
  • In The Night - Bob Dylan
  • Stages - Josh Groban
  • No One Ever Tells You - Seth MacFarlane
  • My Dream Duets - Barry Manilow (& Various Artists)
Pop Vocal Album
  • "Piece by Piece" Kelly Clarkson
  • "How Big, How Blue, How Beautiful" Florence + the Machine"
  • "Uptown Special" Mark Ronson
  • "1989" Taylor Swift
  • "Before This World" James Taylor
DANCE/ELECTRONIC MUSIC Dance Recording
  • "We're All We Need," Above & Beyond feat. Zoe Johnston
  • "Go," the Chemical Brothers
  • "Never Catch Me" Flying Lotus feat. Kendrick Lamar
  • "Runaway (U & I)" Galantis
  • "Where Are U Now" Skrillex and Diplo with Justin Bieber
Dance/Electronic Album
  • "Our Love" - Caribou
  • "Born in the Echoes" - the Chemical Brothers
  • "Caracal" - Disclosure
  • "In Colour" - Jamie XX
  • "Skrillex and Diplo Present Jack U" - Skrillex and Diplo
Best Rock Performance
  • "Don't Wanna Fight" - Alabama Shakes
  • "What Kind Of Man" - Florence + The Machine
  • "Something From" Nothing - Foo Fighters
  • "Ex's & Oh's" - Elle King
  • "Moaning Lisa Smile" - Wolf Alice
Best Metal Performance
  • "Identity" - August Burns
  • "Red Cirice" - Ghost
  • "512" - Lamb Of God
  • "Thank You" - Sevendust
  • "Custer" - Slipknot
Best Rock Song
  • "Don't Wanna Fight" - Alabama Shakes
  • "Ex's & Oh's" - Dave Bassett & Elle King
  • "Hold Back The River "- Iain Archer & James Bay
  • "Lydia" - Richard Meyer, Ryan Meyer & Johnny Stevens
  • "What Kind Of Man" - John Hill, Tom Hull & Florence Welch
Best Rock Album
  • "Chaos And The Calm" - James Bay
  • "Kintsugi" - Death Cab For Cutie Mister
  • "Asylum" - Highly
  • "Suspect Drones" - Muse
  • ".5: The Gray Chapter" - Slipknot
Best Alternative Music Album
  • "Sound & Color" - Alabama Shakes
  • "Vulnicura" - Björk
  • "The Waterfall" - My Morning
  • "Jacket Currents" - Tame Impala
  • "Star Wars" - Wilco
Best R&B Performance
  • "If I Don't Have You" - Tamar Braxton
  • "Rise Up" - Andra Day
  • "Breathing Underwater" - Hiatus Kaiyote
  • "Planes" - Jeremih feat. J. Cole
  • "Earned It (Fifty Shades Of Grey)" - The Weeknd'
Best R&B Song
  • Coffee - Brook Davis & Miguel Pimentel
  • Earned It (Fifty Shades Of Grey) - The Weeknd
  • Let It Burn - Kenny B. Edmonds, Jazmine Sullivan & Dwane M. Weir II
  • Really Love - D'Angelo & Kendra Foster
  • Shame - Warryn Campbell, Tyrese Gibson & DJ Rogers Jr
Best Rap Album
  • 2014 Forest Hills Drive - J. Cole
  • Compton - Dr. Dre
  • If You're Reading This It's Too Late - Drake
  • To Pimp a Butterfly - Kendrick Lamar
  • The Pinkprint - Nicki Minaj
Best R&B Album: Black Messiah (D’Angelo and The Vanguard)
Best Rap Performance: Alright (Kendrick Lamar)
Best Rap/Sung Collaboration: These Walls (Kendrick Lamar featuring Bilal, Anna Wise & Thundercat)
Best Rap Song: Alright (Kendrick Lamar)
http://www.eska.pl/news/grammy_2016_-_zwyciezcy_pelna_lista_zwyciezcow_grammy_awards_2016/125116

z kulturka, filmowo/ komisja d/s Dzialalnosci Wywrotowej.



BAFTA Awards! Nagrody brytyjskiego przemyslu filmowego  rozdane. 
Najlepszym filmem byl The Revenant w rezyserii Alejandro Gonzaleza Inarritu. Leon dostal pierwsza nagrode BAFTA za role meska. Zjawa dostal takze za zdjecia Emmanuela Lubezkiego. W sumie piec statuetek bo i dzwiek w filmie doceniono.
Najlepsza aktorka Brie Laeson za Room. Nie ogladalam wiec sie nie wypowiem. Natomisat drugoplanowe nagrody meskie dla marka Rylance za Bridge of Spies- No dobra niech bedzie. Natomiast statuetka dla  Kate Winslet za Steve Jobsa trafila w odpowiednie rece.
Najlepszy film brytyjski to Brooklyn. I zgadzam sie w zupelnosci z jury.
Spotlight wygral za najlepszy scenariusz oryginalny. Brawo.
Najlepszy scenariusz adoptowany to The Big Short. Yesss.
Wschodzaca gwiazda kina brytyjskiego to John Boyega za Star Warsy. Porazka!!!!
Honorowy czlonek Brytyjskiej Akademii zostal Sidney Poitier. Brawo.
Najlepsza muzyka Ennio Morricone za  The Hateful Eight. Morricone tak, film nie!
Najlepsze efekty tez Star Warsy. No sie nie dziwie.
Uznaje sie, ze nagrody BAFTA to takie male Oscary. Te odbeda sie 28 lutego w LA.
Kochani, nie czesto zdarzylo mi sie siedziec jak na szpilkach i rozmyslac i trafiac. Kto teraz dostanie nagrode. Wielkim rozczarowaniem bylo Carol i Danish Girl. Zero statuetek. Smuteczek i to wielki.
Ha i tu wielka dobra niespodzianka. Nominowany za glowna role meska byl Brian Cranston. Aktor znany mi z Breaking Bad. Serial, znany cioci ale nie dokonczony. 
I tu sie zdziwicie. Brian Cranston skradl mi serce!!!!
Tuz  na wybrzmieniu ciocia ogladala TRUMBO. Tam Brian Cranston szaleje. Historia prawdziwa Daltona Trumbo. Scenarzysty Hollywood, ktory w latach 30 XX wieku, byl najlepiej oplacanym scenarzysta w srodowisku filmowcow. W latach 40, XX wieku. Nasz bohater trafil na tzw. czarna liste Hollywood. Stalo to sie po przesluchaniach przed komisja senatora Josepha McCarthy`ego. Nie chcial przyznac sie do tego, czy jest komunista czy nie jest? Przez lata walczyl z amerykanskim rzadem i srodowiskiem filmowym o dobre imie. Nie byl sam. Ofiar makkartyzmu bylo wielku. Strajki scenarzystow, a aktorzy tacy jak John Wayne szczekali przeciwko nim.
Komisja jak i wiele klamala. Ofiary byly przesladowane. Szukano mlota na czarownice. Przekrety za prawdziwosc swojej ojczyzny i ile amerykanskosci w amerykanskiej duszy. Honor, Bog i prawda!
Nie wazne, ze za poglady idzie sie siedziec. Tak jak Trumbo. Wazne, ze trzeba ukrac ... komunistow. Trzeba powiesic ich zamiast lisci na drzewie. Ogolnie mniej niz zero sa. Tacy zdrajcy ojczyzny. Szpiedzy i szkodnicy demokracji.
Znacie to skads???
Nie to obejrzyjcie TRUMBO. Moze to wyjasni Wam pojecie ...KOMISJI...Sledczej!

Historia jednak czasem jest sprawiedliwa. Wszystko konczy sie dobrze. Dalton Trumbo dostaje dwa Oscary w koncowce swojego zywotu.
Zlamano czlowieka ale nie zniszczono.


Prawda Was wyzwoli


Znow hameryka. Znow komisja. Znow afera. Znow demokracja, ktorej swiat powinien docenic. Mowa o filmie Truth. Prawda. Prawda wyszla na jaw. Ale komisja zwolnila dla przykladu dziennikarke. Nikogo wiecej nie ukarano. Prezydent Dzordz Dabllju nadal rzadzil. Afera miala miejsce w 2004 roku i nazywala sie Rathergate. Wyplynela w programie Dana Rathera (Robert Redford), 60 minutes w stacji CBS. Dziennikarka byla Mary Maples tu grana przez genialnie zimna Cate Blanchett. 
Dziennikarze wspomnianej stacji mieli dostep do dokumentow w ktorych to przedstawial sie obraz prezydenta Georga W. Busha jako klamcy. Podobno korzystal z uprzywilejowanego statusu w casie swojej sluzby jako pilot Gwardii Narodowej w Teksasie w latach 70- tych XX wieku. Jako przyklad koronny sluzyl fakt nie stawiania sie prezydenta przed obowiazkowa komisja lekarska.
Mlodosc. Ostatni dzien z zycia. Szwajcaria. Niby sanatorium ale luksusowe. Niby szpital, niby hotel. Tu zycie mija kuracjuszom na zabiegach, leczeniu sie, spacerowaniu, jedzeniu, platnej milosci, spiskom i pogaduszkom o niczym. Gdzies ekipa filmowa przygotowuje sie do nakrecenia wspanialego filmu. Gdzies rodzi sie dramat corki jednego z kuracjuszy. Role glowne to Harvey Keitel i Michael Cane. Dwoch gentelmenow, kompletnie zdrowych przedstawia swoja wizje ....Mlodosci.
Zabieram sie za lekture Mlodosci, Paolo Sorrentino. Co przyciaga film...hmmmmm niespodziewana mlodosc Miss Universum, Nieoczekiwana rola Palomy Faith, ktora istnieje tu pod swoim nazwiskiej Palomy Faith i zapewnia, ze nie jest kurwa!
Na koniec totalny pocisk muzyka z filmu Mlodosc. Zespol Z Manchesteru, Retrosettes. Cholernie mocno polecam cala sciezke dzwiekowa Mlodosc.

freeheld, boski opiekun

No dobra. Bedzie zle. Bedzie strasznie. Bedzie bez happy endu za to potworne lzy. Ciocia nie nadazyla smarac i lez cieknacych po ryju obcierac. Mowa o filmie Freeheld.


Dwie bohaterki, ktore poruszyly serca Hameryki. Mechaniczka samochodowa z New Jersey, Stacie Andree i Laurlen Heston. Stacie jest mlodsza od Laurel o 19 lat. Mloda, energiczna taka co rozbiera samochod na czesci wzrokiem. Laurel to policjantka w kryminalnych z dorobkiem dwudziestotrzyletnim w sluzbie.  Nie moze mowic o swojej orientacji. Bron Boze dochodzic jakichkolwiek racji. Laurlen ma raka pluc. Powoli umiera. Tu punkt kulminacyjny. Wyrobila emeryture, ktorej policja nie moze wyplacic. No bo nie ma zwiazku. Nie ma malzenstwa i w ogole to jakies tam lesbijstwo sobie wymyslila. XXI wiek sie klania. Zwiazki zawodowe niby sa ale tak jak wiadomo zbieraja skladki. Koledzy jakos niechetnie przystaja na poparcie dzielnej policjantki z wyjatkiem Larel partnera. Ten, zbiera do kupy biuro. Zarzadza skladki. Zarzadza posiedzenia. Chodzi na rozprawy sadowe. Wymusza by inni policjanci odwiedzili sad i to nie w charakterze swiadkow przestepstw. Zaczynaja sie przepychanki. Biurokracja narasta i jury ma gdzies  wymog o opiekunie domowym chorej. 
Sad Ocean Country, New Jersey Board of Chosen Freholders wreszcie po bitwie zaakceptowal rente. Mialo dobrze sie skonczyc. W jednym aspekcie tak ale Laurel nie zyje.


Przed Freeheldem, nakrecono inny Freeheld ale krotkometrazowy film dokumentalny, ktory wyrezyserowala Cynthia Wade i Vanessa Roth. Praca tych dwoch pan zostala nagrodzona Oscarem w kategorii Najlepszy Krotkometrazowy Film Dokumentalny za rok 2007. 


To zdjecie Laurel Heston i Stacey Andree


Laurel Hester gra Julienne Moore a Stacej Andree, Ellen Page. Muzyka Miley Cyrus. Piosenka Hands of Love juz zmusza do placzu nie mowiac o calej historii.
(autorka tekstu i przy pianinie Linda Perry)




Justice Warriors: Julianne Moore and Ellen Page Bring Marriage Equality to the Big Screen

Ellen Page
Photography by Ruven Afanador. Styling by Grant Woolhead. Market Editor: Michael Cook. Hair: Ted Gibson at Jed Root. Makeup: Matin at Ray Brown Productions
Ellen Page and Julianne Moore were both in New York City on June 26, when the U.S. Supreme Court ruled in favor of marriage equality. Page was shooting a movie, and she remembers a lot of “really exciting, positive energy” that day, not least because she was driving around with a colleague who’s also gay. High on Moore’s list of recollections were the traffic-stopping takeover of Pride weekend and a post-ruling statement from President Barack Obama. “He essentially said, ‘When we are all more equal, we are all more free,’ and it was a really beautiful thing to say,” Moore says. “Because we were all holding our breath, thinking,Come on, this has got to work. If it doesn’t work, what does it say about us as a nation? You don’t want to carry that kind of shame anymore — it’s absurd. Someone, maybe on my Twitter feed, was talking about all the people who were railing in the Southern states, like, ‘I will not allow this to happen.’ And that someone just said, ‘Give it up. It’s over. It’s done.’ I think there was a sense of relief, finally, that we did the right thing, as a nation and as a culture.”
Of course, leaps and bounds were preceded by smaller steps, and in the march toward marriage equality, one of those steps was the 2006 case of Laurel Hester and Stacie Andree, lesbian partners whom Moore and Page, respectively, bring to life in this month’s Freeheld. A narrative, feature-length adaptation of the 2007 Oscar-winning documentary short, Freeheld turns down the noise, focusing on a quiet, simple couple, and putting micro faces to a macro cause. Hester died in 2006 at the age of 49. She was a 23-year veteran of New Jersey’s Ocean County police force when she was diagnosed with terminal lung cancer. She wasn’t permitted to pass her pension benefits on to Andree, her legal domestic partner. At the time, counties in New Jersey had the option to extend benefits to domestic partners; however, for reasons that seem indisputably tied to antigay discrimination, Hester and Andree weren’t afforded that right by local freeholders. Their battle for justice eventually vaulted them into the national spotlight.

“For me, lots of stuff surfaced [playing Stacie],” says Page, who came out last year during a moving, yet authoritative, speech she gave at a Human Rights Campaign conference. “Recreating a sort of closeted relationship in a film caused some stuff to surface, for sure. And then there’s [the matter] of speaking up or potentially owning an identity that I think does require a responsibility of trying to help move things forward. For Stacie, it was more complicated, because her being fully involved in that activism meant accepting that the love of her life was going to die, and that was a lot of the complication for her. I could not imagine something worse. But when she finally managed, in some way, to accept that idea, I think she could fully give herself to the activist part of it all.”
Page, 28, also serves as a producer on Freeheld, and she’s been attached to the project since she was 21, not long after the release of her breakout hit, Juno. She was involved before Moore, before gay screenwriter Ron Nyswaner (Philadelphia), and before director Peter Sollett (Raising Victor Vargas, Nick and Norah’s Infinite Playlist).
“I remember thinking, Ellen, how in God’s name could you make this film and not be out?” Page says, a bashful smirk flitting across her face. “What’s interesting to me is how long it took to make the movie — for it to finally come together — and how my internal progression toward coming out was naturally in line with it. Stacie and Laurel’s story is incredibly inspiring and did take a lot of courage, particularly in a time of such unimaginable difficulty. It really did make me go, Dude, just tell people you’re gay. Just get over yourself, honestly, and support those who are not as privileged. It’s like, You have fucking privilege, so do something with it.”
Sollett — who’d previously depicted queer characters with great, yet subtle, inclusiveness in 2008’s Nick and Norah’s Infinite Playlist — also devoted a chunk of his life to Freeheld. He’s been on board for roughly five years. Page came out to Sollett during that time, and what eventually followed for the filmmaker was a daily dose of revelation.
“I had a privileged position of working with her every day, and having an ongoing conversation with her about how [the work] was affecting her emotionally,” Sollett says. “ ‘Was it liberating? Was it intimidating? Are you feeling empowered?’ I don’t think there will be another experience in my creative life where I get to share that with someone. A week or two into production, she told me it was one of the best experiences she’d ever had making a film. I think what she does in the movie feels like a breakthrough from an artist we’ve come to know and expect certain things from. Not only is she doing something new as an out woman playing an out woman in a mainstream Hollywood film, she’s giving us something that feels entirely fresh — like finding a room in your house that you didn’t know was there, or discovering another verse to your favorite song.”
Moore, too, was impressed with the way Page tackled the role. “It was interesting for me, because Ellen had just so recently come out [when we started filming],” she says. “And this is going to sound silly, and hopefully not hurtful on my part, but I don’t think I was aware of how painful it is to be closeted. I have the advantage of being a person who’s never had to hide my sexuality, so I asked her a lot of questions — frank questions — about what that feels like. She said she felt discomfort simply wearing all these dresses, and it was all very eye-opening for me. She was so unprotective [of herself] — I was very touched by that. It definitely made me more sensitive to the nuances of our movie.”
Ellen Page & Julianne Moore
Moore’s candor is refreshing, but also surprising. Aside from having a handful of lesbian roles on her vastly diverse résumé (see The Kids Are All Right and The Hours), Moore, 54, has worked with some of cinema’s great gay auteurs, like Todd Haynes and Gus Van Sant. More recently, she's teamed with queer pioneers like Lisa Cholodenko and the duo of Wash Westmoreland and the late Richard Glatzer, who co-directed her in her Oscar-winning turn in Still Alice. Surely somewhere along the line she heard other tales of closeted torment? “No,” she says. “Because everyone I knew was out — or is out. The last person I was friends with who was closeted was a really close friend in high school, and she came out in college. But even then, it seemed very matter-of-fact — she was out. It was nothing like this.”
Moore may never have had to console a queer friend in precisely this way, but her assessment only reinforces the popular conception that bigotry is not part of her DNA. Pressed for an early childhood memory that might have fostered this, Moore — who was raised very liberal in a military family that traveled often — recalls an experience at an elementary school in Lincoln, Neb. One wing of the school, she says, was reserved for kids with intellectual disabilities, and the other was not, but everyone got to play at recess together, integrated. “When you’re 9 or 10 years old, kids who are different are scary,” she says. “But because we all played together, it just reformed my whole way of thinking. That’s why segregation of any kind is bad — it allows you to feel different and distanced. If you’re not exposed to people and things, and if they’re not proximate, they feel other.”
For Page, collaborating with her co-star began with intimidation. “I was really nervous,” she says, turning to a smiling Moore as they take a break from their photo shoot. “That was the first thing. When we were in pre-production, we didn’t have that much time [to prepare], and I think that was probably the most nervous I’ve ever been — when you came.” But nerves were soon displaced by a natural and necessary camaraderie. Rather than a supremely Method actress (which Page assumed she was dealing with when she received preparatory, brainstormy texts from her co-star while meeting with the real Stacie Andree), Moore turned out to be a comfort, even a goof, prone to singing “Peanut Butter Jelly Time” on set. She was also totally game for Page’s running gag that Moore is, in fact, a lesbian, given, among other things, her penchant for Birkenstocks. In an aside that has both women exchanging inside-joke grins, Page explains that Moore, for one reason or another, repeatedly brought up her all-time favorite children’s book, Baby Island, which, to Page’s discovery and Moore’s surprise, doesn’t center around a straight couple, as Moore had remembered, but two females. As a gift, Moore dug up the original copy from her childhood, with her name in it, and gave it to Page. “It’s truly one of the sweetest gifts I’ve ever been given,” Page says.
A standout scene in Freeheld is Laurel and Stacie’s domestic partnership ceremony, which Sollett claims is the first of its kind in a narrative film (thanks to recent developments, he hopes it may also be the last). Admittedly, part of the lingering effect of the movie is that Laurel and Stacie’s union, a wholly unglamorous affair in which the pantsuited women enter an anonymous hall and sign a piece of paper, feels both new and archaic on screen. In a span of 10 short years, it’s indeed hard to think of another scene quite like this, and yet it seems quaint, given that in New Jersey, and now across the entire country, LGBT couples can skip town hall and head straight for the altar. But was Laurel Hester truly the Jim Obergefell of her time?
Hester and Andree never wanted to be poster girls; they merely wanted 11th-hour rights for each other, and as both Moore and Sollett say, as if the phrase was simply in the air on set, “this story is the ultimate example of the personal becoming the political.” But at least one man who saw larger potential for Hester’s struggle was Steven Goldstein, the founder of Garden State Equality, who helped launch the case into the public consciousness, while furthering his own goals of legalizing same-sex marriage in the state (in Freeheld, he’s played by Steve Carell). Regarding the historical and pivotal weight of the drama at Freeheld’s center, Goldstein is without doubt.
“The Laurel Hester case was the turning point in our fight for marriage equality in New Jersey,” Goldstein says. “In 2006, a few months after the case, the New Jersey Supreme Court ruled for civil unions — just short of marriage equality. After that decision, I asked a source familiar with the New Jersey Supreme Court whether the court had been watching coverage of the Laurel Hester saga. The source said that without Laurel, they wouldn’t have decided for civil unions. In the beginning, both Laurel and Stacie resented that I viewed their situation as the big story that would capture New Jersey’s heart to help us win. I think they took it as my not caring about them. But I cared about them deeply. Of course I ‘used’ their case, if that’s how you want to put it. That’s how you win social justice.”

Goldstein left Garden State Equality behind in 2013, when New Jersey finally legalized same-sex marriage. He’s now an associate professor of law and political science at Rutgers in Newark, and looks forward to “a comprehensive federal law to provide sweeping equality in all walks of life to LGBT people in all 50 states, especially to protect our transgender sisters and brothers.”
Moore, meanwhile, has more immediate hopes for the future. “You know what would be really nice for this movie?” she says. “I would really like it to be a big, mainstream hit, because I feel like it’s an important time in our culture. In the entertainment business, some people say we can effect change. I don’t know that we can effect change, but I do know that we reflect it. When there’s a Supreme Court judgment, generally, it’s because popular opinion has already changed. A majority of people in this country were in favor of marriage equality, and the Supreme Court made that ruling. And look! Suddenly, here is this movie that sort of reflects that back. So we’re ready as a culture to say, ‘Here. Look. Look how far we’ve come, and look what we’ve done.’ ”http://www.out.com/entertainment/2015/9/01/julianne-moore-ellen-page-freeheld

waiting for the sun

 tak niecierpliwie czekam slonca