She’s beautiful to look at.
I try to ignore this as I listen.
Her fragrance wafts over me like steam.
“It’s oil,” she says, “Everyone is wearing it.”
I breathe it in, as I do her.
Is what I sense when she speaks.
Sure, it’s the move/LA/making friends/figuring it out/living a new —
I sniff her out with every moment, like a cat to a passing dog.
She plays with my hair.
God, that feels good.
Feel from the inside, she tells me.
It may mean breathing differently.
Close the door from the world and give it a few seconds longer to “log in”.
Stop from feeling through the mind, that doesn’t work.
Feel from the inside.
The guts, your innards.
She’s leaving me.
I definitely feel that.
The heart aches, the mind ever-so proud, the revenge pulsates.
But what for? And who cares?
Nothing changes what’s to come, she’s leaving me.
Stop being so dramatic.
The box office has made its ruling, and the verdict is clear. You can’t keep a wonderful woman down.
“Wonder Woman,” which opened this weekend, is a mammoth hit, meeting the most optimistic expectations and setting up its director, Patty Jenkins, for a place in the record books. It’s on track to earn between $90 and $105 million domestically by Monday morning, according to industry projections. That’s the best debut ever for a movie directed by a woman.
My colleague Maureen Dowd explored this stark gender disparity in a cover story for The Times’s magazine in late 2015, noting that in the previous two years, “women were only 1.9 percent of the directors for the 100 top-grossing films.”
“Excluding their art-house divisions, the six major studios released only three movies last year with a female director,” Dowd added, referring to 2014.