Nora Ephron’s final movie “Julie & Julia” was not only one of her best reviewed, but evidence that the veteran filmmaker successfully adjusted to Hollywood’s new business reality. […] Some filmmakers have had a difficult time adjusting to that new reality. James L. Brooks, for instance, hasn’t worked on a movie since his 2010 flop “How Do You Know,” a romantic comedy made for more than $100 million. But Ephron transitioned to Hollywood’s new economic rules, leading at least one senior studio executive in a private discussion last year to hold her up as proof that it was possible for any filmmaker who accepted the film business’s new realities to keep working successfully. – Nora Ephron adjusted to Hollywood’s new business reality

NORA EPHRON‘s public orgasm, depicted in “When Harry Met Sally,” seems to have been a salutation on what she thought, felt and experienced of life, at least from what I can gather listening to her friends talk about her today.

It’s this moment on film for which we should all be most grateful. That it’s accompanied by Rob Reiner’s mother responding she’ll “have whatever she’s having,” offered a hint that older women are sexual too. In a country that continues to mouth the importance of friendship to marriages, which is true, 50% of them end in divorce, so clearly something is missing. Men long into late life to recapture youth through sex. The question is why women are expected to feel any differently? The turnkey is menopause.

If you haven’t yet discovered the joy of Charlie Rose on CBS “This Morning” yet, then you missed the tribute of tributes today. Listening to Charlie Rose say he wanted Nora Ephron to like him was the most touching thing I’ve heard from his public mouth since I began watching him eons ago. CBS played Rose interviews, where Ephron extolled the joy of bread and the importance of eating your last meal at least once a week while you can enjoy it, because when the end actually does come you can’t. Aaron Sorkin, Arianna Huffington weighed in as well.

I’d quote the Christian Science Monitor‘s piece on Ms. Ephron, but it’s riddled with “first-wave” versus “second-wave” feminism bullsh*! I abhor and means nothing.

What I appreciate about her life, beyond her obvious resilience of surviving Carl Bernstein, who hasn’t had one of those relationships, was her ability to meet the challenges of Hollywood so all of us, particular us broads, could continue to glimpse her genius in film. It’s no short order for Hollywood femmes traversing the pitfalls of entertainment.

Ephron didn’t believe in an afterlife, but considering the life she lived, perhaps for her once was more than enough.

From Ephron’s public orgasm to her adaptability to financial film restraints that some men couldn’t traverse, her life told the story her films depicted. Her talent wasn’t just telling them, because that’s only half the journey. If you can’t make the pitch and convince the powers you can come in on budget and make a profit, all the talent in the world doesn’t matter.

Nicholas Pileggi was a lucky man and I bet he knows it.

And before her passing, Ephon’s career was set to continue. She had two movies in development: A Peggy Lee biopic at 20th Century Fox’s Fox 2000 label, and a Jane Austen-related comedy called “Lost in Austen” at Sony Pictures. [LA Times]