Merkin devotes much of her nearly 8,000 word piece to analyzing Meyers’s unique triumph in “Hollywood, [where] the glass ceiling is more shatterproof than in many other industries, giving way only when the pressure of accumulated evidence is brought to bear.” Merkin decides that Meyers’ success as a “Hollywood player” is at least partially due to the fact that, “aside from Nora Ephron, it is hard to think of another female director with as recognizable a cinematic imprint as hers, a certain look and feel that you can point to and credit, for better or worse, as uniquely hers.”

This statement might inspire anyone who has ever seen a film directed by a woman other than Ephron or Meyers to start reeling off examples of female filmmakers with their own “recognizable cinematic imprints.”

— Blah blah blah women, blah Manohla, Jezebel, Bigelow, blah blah stupid Nancy Meyers NYT Mag profile, blah blah blah. It IS complicated!