Crawl of outlinks from wikipedia.org started March, 2016. These files are currently not publicly accessible. Properties of this collection. It has been several years since the last time we did this. For this collection, several things were done: 1. Turned off duplicate detection. This collection will be complete, as there is a good chance we will share the data, and sharing data with pointers to random other collections, is a complex problem. 2. For the first time, did all the different wikis. The original runs were just against the enwiki. This one, the seed list was built from all 865 collections. ||||| Correction: An earlier version of this obituary incorrectly described one of Ephron’s three Academy Award nominations for best original screenplay. In addition to her nominations for “Silkwood” and “When Harry Met Sally,” the nomination she shared with Jeff Arch and David S. Ward was for “Sleepless in Seattle” (1993), not “You’ve Got Mail” (1998). She wrote the latter screenplay with her sister ­Delia Ephron, not with Arch and Ward. This version has been corrected. 
 
 “Take notes,” Nora Ephron’s mother advised her as a child. “Everything is copy.” 
 
 Her mother, a Broadway playwright and Hollywood screenwriter, imbued Ms. Ephron with a razor-sharp self-awareness and the ambition to transform workaday absurdities, cultural idiosyncrasies, romantic foibles and even marital calamity into essays, novels and films brimming with invitingly mordant wit. She credited her mother with bestowing “this kind of terrific ability, not to avoid pain but to turn it over and recycle it as soon as possible.” 
 
 Nora Ephron, who gained a devoted following for her perceptive, deeply personal essays and parlayed that renown into a screenwriting career of wistful romantic comedies such as “When Harry Met Sally” and “You’ve Got Mail,” the marital exposé“Heartburn” and the whistleblower drama “Silkwood,” died June 26 at a hospital in New York. She was 71. 
 
 The death was confirmed by her friend Richard Cohen, a Washington Post columnist. She died of complications from the blood disorder myelodysplasia, which was diagnosed six years ago. 
 
 As a young woman, Ms. Ephron modeled her self-deprecating and deadpan writing style on Dorothy Parker, part of the Algonquin Round Table of sophisticated New York writers and humorists that also included Robert Benchley and S.J. Perelman. Of the philandering husband in her 1983 novel “Heartburn” — modeled on her marriage to former Washington Post journalist Carl Bernstein — Ms. Ephron wrote he was “capable of having sex with a Venetian blind.” 
 
 In time, Ms. Ephron became a social confederate of New York playwrights, filmmakers and wits, including Mike Nichols, Woody Allen and Calvin Trillin; Washington journalists including former Post executive editor Benjamin Bradlee and his journalist wife, Sally Quinn; and a Hollywood coterie that included Rob Reiner, Tom Hanks, Steve Martin and Steven Spielberg. 
 
 As a woman in the male-dominated movie business, Ms. Ephron was a rare “triple-hyphenate” as writer, director and producer. But making movies for and about women was a battle, at times. She observed how, to male studio moguls, “a movie about a woman’s cure for cancer is less interesting than a movie about a man with a hangnail.” 
 
 From her early years as a journalist for Esquire and New York magazines, Ms. Ephron was regarded as a keen cultural barometer. She repeatedly channeled her interest in the zeitgeist to the screen. Her last film, “Julie & Julia” (2009), starring Meryl Streep as the French-cooking apostle Julia Child and Amy Adams as a modern disciple, explored the trendy fascination with blogging and gourmet cooking. 
 
 In “Silkwood” (1983), a biographical drama directed by Nichols and starring Streep as a plutonium plant employee and union activist, Ms. Ephron tapped into the era’s fear of nuclear meltdowns and corporate coverups. Her novel and 1986 screenplay for “Heartburn” — which starred Streep and Jack Nicholson — reflected what countless other women were experiencing through their disappointing marriages and efforts to balance career ambitions with homemaking obligations. 
 
 The tension between the sexes also played a central role in her sparkling screenplay for “When Harry Met Sally” (1989), which Reiner directed and which starred Billy Crystal and Meg Ryan as yuppies who forgo sex with each other for decades to maintain their friendship. As a writer and director, Ms. Ephron was among the first to chronicle the addictive thrill of romance by e-mail in “You’ve Got Mail” (1998), starring Hanks and Ryan. 
 
 Ms. Ephron received three Oscar nominations for her writing, for “Silkwood” (shared with Alice Arlen), “Sleepless in Seattle” (with David S. Ward and Jeff Arch) and “When Harry Met Sally.” 
 
 The most unforgettable — and oft-quoted — scene from “When Harry Met Sally” showed Ryan faking a loud orgasm in front of Crystal over lunch at a delicatessen. After Ryan’s intense moment, a woman at a nearby booth tells the waiter, “I’ll have what she’s having.” 
 
 Ms. Ephron said it was Ryan’s idea to film the scene in the deli, and it was Crystal who came up with the one-liner. But the core idea came from talks between Ms. Ephron and Reiner. 
 
 “One day, we were sitting around and Rob said to me, ‘You know, we’ve told you all this stuff that you didn’t know about men, now you tell us something we don’t know about women,’ ” Ms. Ephron told an audience at a book reading in 2006. “It was almost like, ‘I dare you.’ And I said, ‘Well, women fake orgasms.’ And he said, ‘Not with me.’ ” 
 
 “And I said, ‘Yes, we do,’ ” she added. “Maybe not all the time, but sometimes. He still didn’t believe me. So we went thundering into the bullpen at Castle Rock Pictures where all the women work, and he asked them, ‘Is it true that women fake orgasms?’ And all these women nodded yes. What a shock that scene was for men.” 
 
 “That’s my career, right there,” Ms. Ephron quipped. 
 
 Nora Louise Ephron was born May 19, 1941, in Manhattan and raised in Beverly Hills, Calif., where she once joked of “loving the smell of mink, the smell of the pavement after it rained and the smell of dollar bills.” 
 
 Her parents were prosperous but heavy-drinking Broadway playwrights, Henry Ephron and the former Phoebe Wolkind, and Nora was the first of their four daughters. The younger Ephron siblings, Amy, Delia and Hallie, also became writers. 
 
 From their earliest years, the Ephron children were trained to come to the dinner table prepared to tell stories. Nora Ephron said that many of the tales — how a younger sister got her head caught in the banister and the fire department came to the rescue — became plot devices in their parents’ films. Years later, Nora Ephron’s letters home from Wellesley College were the source of her parents’ Broadway comedy “Take Her, She’s Mine” (1961), which became a film starring James Stewart and Sandra Dee. 
 
 After graduating in 1962 from Wellesley, Ms. Ephron spent five years as a general assignment reporter at the New York Post before leaving daily journalism in 1968 to freelance for large-circulation magazines such as Good Housekeeping. Many of the pieces, on cultural trends, were published in her first book-length collection, “Wallflower at the Orgy” (1970). 
 
 As the women’s movement gained traction in the decade that followed, Ms. Ephron was often invited to discuss it on television and in articles for Esquire and New York magazines. She brought a strikingly light-hearted touch to her deeply felt belief in women’s rights. 
 
 “I have always thought it was a terrible shame that the women’s movement didn’t realize how much easier it was to reach people by making them laugh than by shaking a fist and saying don’t you see how oppressed you are,” she told Newsday in 1976. 
 
 Her 1975 collection “Crazy Salad: Some Things about Women” included essays on vaginal deodorants, a Pillsbury bake-off, her Wellesley reunion and, one of her most reprinted articles, “A Few Words About Breasts.” She reminisced about how her flat chest made her feel like an outlier in a world that fetishized large breasts. But the trauma began at home. 
 
 “My mother was really hateful about bras,” she wrote, “and by the time my third sister had gotten to the point where she was ready to want one, my mother had worked the whole business into a comedy routine. ‘Why not use a Band-Aid instead?’ she would say.” 
 
 Her next collection, “Scribble, Scribble: Notes on the Media” (1978), was based on her tenure as a media columnist for Esquire in the mid-1970s. At the time, she was married to Bernstein, whose collaboration at The Post with Bob Woodward helped uncover the Watergate scandal that led to President Richard M. Nixon’s resignation. 
 
 Her first marriage, to Dan Greenburg, author of books including “How to Be a Jewish Mother,” ended in divorce. She had married Bernstein in 1976 and was seven months pregnant with her second child when she discovered her husband was having an affair with Margaret Jay, the wife of the British ambassador. She delivered the child prematurely, and the marriage smashed apart in an ugly and public way, garnering coverage in People magazine and other publications. 
 
 Ms. Ephron later said that it was impossible to resist writing about her marriage, telling The Post that “although it was the most awful thing I’ve ever been through . . . it was by far the most interesting.” 
 
 The result was “Heartburn,” a roman a clef about her marriage to Bernstein with the characters changed to a cookbook author married to a randy syndicated columnist; the book also included recipes, including writer Lillian Hellman’s for pot roast. Reviews were mixed, but the notoriety surrounding its publication — one of the nation’s most prominent writers wreaking revenge on another — propelled “Heartburn” to the bestseller lists. 
 
 “Obviously, I wish Nora hadn’t written the book,” Bernstein, then working at ABC News, told The Post at the time. “But I’ve always known she writes about her life. Nora goes to the supermarket and she uses it for material.” 
 
 In 1987, she married Nicholas Pileggi, a journalist, author and screenwriter of such films as the mobster dramas “GoodFellas” (1990) and “Casino” (1995). Besides Pileggi and her three sisters, survivors include two sons from her second marriage, Jacob Bernstein of New York and Max Bernstein of Los Angeles. 
 
 As a filmmaker, Ms. Ephron could be derivative. “You’ve Got Mail” was partly inspired by the pen-pal romance classic “The Shop Around the Corner” (1940). Ms. Ephron also borrowed heavily from the Cary Grant-Deborah Kerr romantic drama “An Affair to Remember” (itself a remake of an earlier film) for her 1993 star-crossed romance “Sleepless in Seattle” with Hanks and Ryan. 
 
 If her career also had its share of movie duds — among them, the witness-protection comedy “My Blue Heaven” (1990) and the sitcom remake “Bewitched” (2005) — Ms. Ephron remained widely admired for a productive career in a field that often marginalized women who didn’t produce blockbusters or Oscar champs. 
 
 “Nora Ephron has quietly been one of the most significant women in film history,” said movie scholar and historian Jeanine D. Basinger. 
 
 Ms. Ephron remained a prolific essayist for publications including the New York Times and O magazine. One of her last collections, “I Feel Bad About My Neck: And Other Thoughts on Being a Woman” (2006), was triggered by what she once called “the menopause that some of us remember so unfondly.” 
 
 In keeping with her mother’s admonition, she was candid in sharing her intimate fears of aging. She explored the loss of physical and mental acuity (“I spend time getting into shape; then something breaks”). She expressed astonishment that one of her contemporaries, former White House intern Mimi Fahnestock, had kept silent about her affair with President John F. Kennedy for more than 40 years. 
 
 Ms. Ephron wrote of being a White House press aide at the same time and lamented that she was “probably the only young woman who ever worked in the Kennedy White House whom the president did not make a pass at. Perhaps it was my permanent wave, which was a truly unfortunate mistake. Perhaps it was my wardrobe, which mostly consisted of multicolored dynel dresses that looked like distilled Velveeta cheese.” 
 
 “Perhaps it’s because I’m Jewish,” she added. “Don’t laugh, think about it, think about that long, long list of women J.F.K. slept with. Were any Jewish? I don’t think so. 
 
 “On the other hand, perhaps it’s simply because J.F.K. somehow sensed that discretion was not my middle name. I mean, I assure you if anything had gone on between the two of us, you would not have had to wait this long to find it out.” ||||| Nora Ephron , an essayist and humorist in the Dorothy Parker mold (only smarter and funnier, some said) who became one of her era’s most successful screenwriters and filmmakers, making romantic comedy hits like “Sleepless in Seattle” and “When Harry Met Sally...,” died Tuesday night in Manhattan. She was 71. 
 
 The cause was pneumonia brought on by acute myeloid leukemia, her son Jacob Bernstein said. 
 
 In a commencement address she delivered in 1996 at Wellesley College, her alma mater, Ms. Ephron recalled that women of her generation weren’t expected to do much of anything. But she wound up having several careers, all of them successfully and many of them simultaneously. 
 
 She was a journalist, a blogger, an essayist, a novelist, a playwright, an Oscar-nominated screenwriter and a movie director — a rarity in a film industry whose directorial ranks were and continue to be dominated by men. Her later box-office success included “You’ve Got Mail” and “Julie & Julia.” By the end of her life, though remaining remarkably youthful looking, she had even become something of a philosopher about age and its indignities. 
 
 “Why do people write books that say it’s better to be older than to be younger?” she wrote in “I Feel Bad About My Neck,” her 2006 best-selling collection of essays. “It’s not better. Even if you have all your marbles, you’re constantly reaching for the name of the person you met the day before yesterday.” 
 
 Nora Ephron was born on May 19, 1941, on the Upper West Side of Manhattan, the eldest of four sisters, all of whom became writers. That was no surprise; writing was the family business. Her father, Henry, and her mother, the former Phoebe Wolkind, were Hollywood screenwriters who wrote, among other films, “Carousel,” “There’s No Business Like Show Business” and “Captain Newman, M.D.” 
 
 “Everything is copy,” her mother once said, and she and her husband proved it by turning the college-age Nora into a character in a play, later a movie, “Take Her, She’s Mine.” The lesson was not lost on Ms. Ephron, who seldom wrote about her own children but could make sparkling copy out of almost anything else: the wrinkles on her neck, her apartment, cabbage strudel, Teflon pans and the tastelessness of egg-white omelets. 
 
 She turned her painful breakup with her second husband, the Watergate journalist Carl Bernstein, into a best-selling novel, “Heartburn,” which she then recycled into a successful movie starring Jack Nicholson as a philandering husband and Meryl Streep as a quick-witted version of Ms. Ephron herself. 
 
 When Ms. Ephron was 4, her parents moved from New York to Beverly Hills, where she grew up, graduating from Beverly Hills High School in 1958. At Wellesley, she began writing for the school newspaper, and in the summer of 1961 she was a summer intern in the Kennedy White House. She said later that perhaps her greatest accomplishment there was rescuing the speaker of the house, Sam Rayburn, from a men’s room in which he had inadvertently locked himself. In an essay for The New York Times in 2003, she said she was also probably the only intern that President John F. Kennedy had never hit on. 
 
 After graduation from college in 1962, she moved to New York, a city she always adored, intent on becoming a journalist. Her first job was as a mail girl at Newsweek. (There were no mail boys, she later pointed out.) Soon she was contributing to a parody of The New York Post put out during the 1962 newspaper strike. Her piece of it earned her a tryout at The Post, where the publisher, Dorothy Schiff, remarked: “If they can parody The Post, they can write for it. Hire them.” 
 
 Ms. Ephron stayed at The Post for five years, covering stories like the Beatles, the Star of India robbery at the American Museum of Natural History, and a pair of hooded seals at the Coney Island aquarium that refused to mate. 
 
 “The Post was a terrible newspaper in the era I worked there,” she wrote, but added that the experience taught her to write short and to write around a subject, since the kinds of people she was assigned to cover were never going to give her much interview time. 
 
 In the late 1960s Ms. Ephron turned to magazine journalism, at Esquire and New York mostly. She quickly made a name for herself by writing frank, funny personal essays — about the smallness of her breasts, for example — and tart, sharply observed profiles of people like Ayn Rand, Helen Gurley Brown and the composer and best-selling poet Rod McKuen. Some of these articles were controversial. In one, she criticized Betty Friedan for conducting a “thoroughly irrational” feud with Gloria Steinem; in another, she discharged a withering assessment of Women’s Wear Daily. 
 
 But all her articles were characterized by humor and honesty, written in a clear, direct, understated style marked by an impeccable sense of when to deploy the punchline. (Many of her articles were assembled in the collections “Wallflower at the Orgy,” “Crazy Salad” and “Scribble Scribble.”) 
 
 Ms. Ephron made as much fun of herself as of anyone else. She was labeled a practitioner of the New Journalism, with its embrace of novelistic devices in the name of reaching a deeper truth, but she always denied the connection. “I am not a new journalist, whatever that is,” she once wrote. “I just sit here at the typewriter and bang away at the old forms.” 
 
 Ms. Ephron got into the movie business more or less by accident after her marriage to Mr. Bernstein in 1976. He and Bob Woodward, his partner in the Watergate investigation, were unhappy with William Goldman’s script for the movie version of their book “All the President’s Men,” so Mr. Bernstein and Ms. Ephron took a stab at rewriting it. Their version was ultimately not used, but it was a useful learning experience, she later said, and it brought her to the attention of people in Hollywood. 
 
 Her first screenplay, written with her friend Alice Arlen, was for “Silkwood,” a 1983 film based on the life of Karen Silkwood, who died under suspicious circumstances while investigating abuses at a plutonium plant where she had worked. Ms. Arlen was in film school then, and Ms. Ephron had scant experience writing for anything other than the page. But Mike Nichols, who directed the movie (which starred Ms. Streep and Kurt Russell), said that the script made an immediate impression on him. He and Ms. Ephron had become friends when she visited him on the set of “Catch-22.” 
 
 Paul Vitello contributed reporting. ||||| Be the first to know about new stories from PowerPost. Sign up to follow, and we’ll e-mail you free updates as they’re published. 
 
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 You’re all set! ||||| Nora Ephron is dead at 71. 
 
 Ephron died of complications from myelodysplasia, a blood disorder she was diagnosed with six years ago, The Washington Post reports. 
 
 The beloved screenwriter, who brought to life award-winning films including "Silkwood," "When Harry Met Sally...," "Sleepless in Seattle," "You've Got Mail" and, most recently "Julie & Julia," belonged to America's top tier of filmmakers, but her talents extended far beyond Hollywood. Ephron was also an accomplished essayist, novelist and reporter, not to mention the Editor-at-Large of The Huffington Post. 
 
 Raised in Beverly Hills, Ephron graduated from Wellesley College before beginning her career as a journalist at the New York Post. She then went on to write about the 1970s women's movement for Esquire. 
 
 "Whatever you choose, however many roads you travel, I hope that you choose not to be a lady," Ephron told Wellesley's Class of 1996 in a commencement speech. "I hope you will find some way to break the rules and make a little trouble out there. And I also hope that you will choose to make some of that trouble on behalf of women." 
 
 Ephron had the wit and the guts to follow her own advice. 
 
 "She was the funniest feminist, or pseudofeminist, depending on whom you ask," Ariel Levy observed in a 2009 profile of Ephron published by The New Yorker. 
 
 In her work and in her life, Ephron refused to settle for predictability. "Every 10 years or so there was a moment when I'd say, even subconsciously, 'Is that all there is?'" she told Ladies' Home Journal in 2009. "You've got to find ways to keep it fresh for yourself. To do the thing, as they say, that is a stretch." 
 
 In 1976, Ephron married Washington Post journalist Carl Bernstein (she was previously married to writer Dan Greenburg for nine years) on the heels of his induction into the journalism hall of fame. Bernstein and his fellow reporter Bob Woodward had chased down the Watergate scandal, which ended the presidency of President Richard Nixon. 
 
 "Carl and Nora were the Brad and Jen of the early eighties," Levy wrote. 
 
 Like many power couples, this one ended in divorce -- after four years. 
 
 Following her second divorce, Ephron wrote the Academy Award-winning screenplay for "Silkwood," starring Kurt Russell and Meryl Streep. Ephron and Streep would collaborate again on 1986's "Heartburn" and 2009's "Julie & Julia." 
 
 "Directing movies is the best job there is, that's all," Ephron told the UK's Independent in 1993. "I can hardly say a word after that. It's just a great job. I just want to go on making movies, and some of them will be completely meaningless, except, of course, to me." 
 
 Ephron is perhaps best known for her 1989 film, "When Harry Met Sally...," which has become a cultural mainstay. 
 
 "'When Harry Met Sally...' is kind of a dark movie," director Nicolas Stoller told The Huffington Post in 2012. "It's sweet and it ends beautifully and romantic, but those are two pretty messed up characters. They're pretty flawed. They do pretty nasty things to each other. It goes to a dark, pretty real place between them. That's why it's a classic. [Screenwriter] Nora Ephron does not pull her punches in that movie." 
 
 Tom Hanks, who starred in not one, but two now-classic Ephron rom-coms -- "Sleepless in Seattle" (1993) and "You've Got Mail" (1998) -- said, "Working on a movie with Nora is kind of like going to a dinner party of hers. There's a lot of great conversation. There's a certain amount of screwing around but, by and large, you wind up talking about what Nora dictates you're going to wind up talking about." 
 
 In recent years, Ephron had grown increasingly aware of her mortality. In her latest book, "I Remember Nothing: And other Reflections" (2010) she writes: "You do get to a certain point in life where you have to realistically, I think, understand that the days are getting shorter, and you can't put things off thinking you'll get to them someday. If you really want to do them, you better do them. There are simply too many people getting sick, and sooner or later you will. So I'm very much a believer in knowing what it is that you love doing so you can do a great deal of it." 
 
 Ephron is survived by her husband, screenwriter Nicholas Pileggi and her two sons, Jacob and Max Bernstein. A memorial has been planned for Thursday, June 28, in New York. 
 
 For more coverage on remembering Nora Ephron: 
 
 Nora Ephron Nora Ephron ||||| Food has brought me joy in times when there wasn’t love or work or sex or money. It’s something that brings you pleasure even when you have little control over the lack of other pleasures. You can bring food into your home; when you’re a single girl who doesn’t have plans in the evening you can make yourself dinner for four. 
 
 And feel that you are not sad, because you’re not eating yogurt. And then if you’re having a good life, it adds something wonderful. I have friends who really do not understand why I would drive 40 miles for this cheese thing that we once drove 40 miles for in Italy, and I just feel terrible for them. What’s wrong with them? Uphill, also. On a winding road. 
 
 What was the cheese thing? 
 
 It was in this little town near Portovenere, this little hill town that has a festival. In the main square is a gigantic copper pan hanging on the side of some building and every year in July they have a fritto misto festival and they heat up the oil in this 16-feet-across pan and they fry fish in it. Meanwhile, in this tiny little bakery off the main street is this cheese and crust thing. It was one of those things where you say, “Oh, I’ve just eaten the greatest thing of my life, which happens to me about five times a year.” I know there are people who would drive that long to see a painting. I would never do that. Never. But I feel bad for the people who wouldn’t drive for the cheese thing. ||||| Crawl of outlinks from wikipedia.org started March, 2016. These files are currently not publicly accessible. Properties of this collection. It has been several years since the last time we did this. For this collection, several things were done: 1. Turned off duplicate detection. This collection will be complete, as there is a good chance we will share the data, and sharing data with pointers to random other collections, is a complex problem. 2. For the first time, did all the different wikis. The original runs were just against the enwiki. This one, the seed list was built from all 865 collections.
– Filmmaker and writer Nora Ephron has died at age 71, reports TMZ. Ephron, who wrote the screenplays for Sleepless in Seattle and When Harry Met Sally, had "emerged over the past four decades as one of America's warmest and most acute chroniclers of contemporary culture," says the Washington Post in a photo tribute. But she was also, as People notes, "one of the most powerful figures in Hollywood." Other big titles include Silkwood, You've Got Mail, and Julie and Julia, not to mention her novel Heartburn and her best-selling 2006 collection of essays I Feel Bad About My Neck. Ephron died of complications from a blood disorder called myelodysplasia, which was diagnosed six years ago, reports the Post. (Its full obituary is here.) Salon: "Her cultural influence is so elemental ... she's like hydrogen." The site rounds up its interviews with her here. New York Times: "She was a journalist, a blogger, an essayist, a novelist, a playwright, an Oscar-nominated screenwriter and a movie director—a rarity in a film industry whose directorial ranks were and continue to be dominated by men." What's more, she was successful in all those things. Huffington Post: She "belonged to America's top tier of filmmakers, but her talents extended far beyond Hollywood."