Someone should make it into a miniseries. The piece titled 'Journalism: A Love Story,' which is a wonderfully evocative portrait of a certain time - the 1960s and '70s - in New York print journalism and a reminder of how joyfully difficult it was to become Nora Ephron. When you're Nora Ephron, you can throw together two or three moderately fine pieces, stretch them out with an assortment of previously published mini-rants and a few unforgivably lazy lists - 'What I Will Miss,' 'What I Won't Miss' - and wait to see how high it will debut on best-seller lists.

,' so everything that happens to you - aging, the loss of a rent-controlled apartment - becomes worthy of note. Yes there have been flops, but you wrote 'When Harry Met Sally. You are more than a person, or a writer you're an intellectual brand, the rom-com, New York Times' Hers-column version of Susan Sontag or Joan Didion, a woman of certain cultural rank.

When you're Nora Ephron, you can righteously protest the lack of female screenwriters while reaping the benefit of being the best known. When you're Nora Ephron, you can get Meryl Streep, who once played a fictionalized version of you, to star as Julia Child in your movie and no one will think to ask why, when you had Meryl Streep, you didn't just toss the boring blogger conceit and make a full-on Julia Child feature.

Nora ephron meryl streep