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Meet the Women Giving Late-Night Comedy New Life


In a world short on joy, humor can be a unifier and a survival tool. In that spirit, we bring you our Comedy Issue, a month-long celebration of funny (and fearless) women and the enduring power of a good laugh.

Much has been made of the political tenor dominating the land of late-night talk shows these days. And for good reason: In addition to cracking jokes, hosts are now expected to take a hard stance on the day’s divisive headlines. Unfortunately, with a few notable exceptions, the ­talent fronting late-night is still white, still male. (Among the top late-night shows we looked at, rarely are more than 30 percent of the writers women; only about 11 percent are people of color.) This means every whistle-blowing monologue or feminist sketch that makes it to air is more than just comedy—it’s a shot across the bow from the underrepresented. To find out what it’s really like in the late-night trenches, Glamour gathered top female writers from six shows to talk about how they check the guys, the highs and lows of being comedy’s secret weapons, and why, if we want our girls to be funny, we have to get to them early.

GLAMOUR: Let’s get right to it. Regarding diversity in the writers room, how are today’s shows doing?

JASMINE PIERCE, staff writer, The Tonight Show Starring Jimmy Fallon: I mean, we’ve made a ton of progress, even in the last year or so, regarding diverse rooms and diverse shows. But there is still a long way to go.

KAT RADLEY, staff writer, The Daily Show With Trevor Noah: I would say it’s still, what, 20 to 25 percent for women in the room? Does anyone have a 50-50 writers room?

PIA GLENN, staff writer, The Opposition With Jordan Klepper: [Raises hand.] Boom! Yes. We’re the newest of the bunch, so there might be a correlation. But when we go one tier above…to the decision makers? We are right back at largely white men.

MELINDA TAUB, head writer, Full ­Frontal With Samantha Bee: Tina Fey said something about how some shows view women like cappuccino makers, like, “We have one. What would we do with another?” And while that’s still an issue—not just with women but also with other marginalized groups—I think shows are realizing that even if you don’t want to [equalize rooms] out of the goodness of your heart, it makes your show better.

ARIEL DUMAS, writer and digital ­content producer, The Late Show With Stephen Colbert: We just hired our fourth female writer, which is really exciting. But what’s more exciting, for me, is that people aren’t saying “women in comedy” so much anymore. I never think about being a woman in comedy. I’m just in comedy.

JASMINE: Yeah, I’m not a comedienne. I’m just…a comedian.

ARIEL: I mean, do we sit around wanting to know what it’s like to be a man in comedy?

PHOTO: Danielle Levitt

From left: Molly McNearney, Pia Glenn, and Melinda Taub

KAT: Um, I definitely feel like I know…. [All laugh.] While there is work to be done, everyone thinks that means actively going out and finding more women to write for you. Which is one way to do it, sure, but it’s also systemic, because fewer women are trying to be comedians. You have to start with the five-year-olds. Tell them they’re funny. Encourage them to express their comedy. Because it’s not occurring to so many until they’re 25 or 30 that they can do comedy.

MOLLY McNEARNEY, co–head writer, Jimmy Kimmel Live!: Most of the application packets that are coming into any show are still white men. And it’s our job to reach out [to women]. We have to get into different communities, to people who might not think they can do our job because they never saw someone that looked like them doing it. Twitter has helped a lot.

JASMINE: Yes! It’s a great tool for encouraging young writers. I used to write for Reductress, and now I make an intentional effort to support their new, good writers. I always tweet a writer’s stuff and then message her and tell her, “You are so good. Keep going!” We have to be active about it. Otherwise it’s so scary.

GLAMOUR: Do you have to actively navigate being the gender minority?

KAT: It’s really just about working together. For us, it’s never been like: The men write the man stuff and the women write the woman stuff. Everyone can and does do everything.

JASMINE: It’s the same for us.

ARIEL: Us too. If I want to pitch a thing about IUDs, a super-female ­womany-​woman story, I don’t feel like I am the one that has to write it. The guys can write that too.

KAT: But we do have to be conscious of checking in. I noticed the other day in the rehearsal script someone had written “congressman.” I texted our head writer, “We need to change it to ‘member of congress’ or ‘congress people.’” He changed it immediately.

ARIEL: I think that’s what’s really helped by having women in the room. Our writers are all so feminist and antiracist, but everyone has the ability to say something if they need to.

MELINDA: You have to be as honest as you can with your staff. I think that helps me, and helps all of us, to find the most dangerous, true version of what we want to say, even if it means texting Sam in the middle of the night—which, for her, is like 9:00 P.M.—when you’re having feelings.

PIA: In our room I think there is a real validity to everyone’s lived experience being different. I don’t ever blame anyone for things they might not know or have not been exposed to. It’s what you do once you’re made aware that matters more. I think about the sexual assault stories that came up and how we talk about it in the room—there’s a visceral anger that comes up when the women speak about it. And the guys know to shut up and take it in.

PHOTO: Danielle Levitt

From left: Kat Radley, Jasmine Pierce, and Ariel Dumas

GLAMOUR: How can writing for a host give agency to your perspective?

MELINDA: It’s so different when it’s women-dominated from the top. I didn’t really realize how hard I was fighting to write in other people’s voices until I got to Sam and I was like, Oh, I can just be me.

PIA: Jordan absolutely amplifies my voice in terms of point of view, because I am such an advocate for black female representation, and in the comedy world [makes sad trumpet noise]. So, much of the time, even as filtered through this extremely white man, I can take credit for our angle on Trump’s America or dog whistles about racism. It might not sound like my voice coming out of his mouth, but it definitely is.

MOLLY: I have a unique situation in that the host of my show is also my husband, so he’s uniquely qualified to amplify my voice as a comedian and writer. Like when our son went through his heart condition—his open-heart surgeries—Jimmy allowed me to tell a story that I never could have. I was feeling those same things but didn’t have the strength to go on national television and talk about it. I would have made Jimmy’s crying look like nothing.

KAT: Trevor always asks questions, like with the Harvey and Me Too stuff. He’d ask if the approach was right, if we wanted to lead the discussion.

ARIEL: Same with Stephen. He is so attuned to the hypocrisy women experience. Like how the Trump administration is pushing “abstinence education” by teaching women sex-­​refusal techniques. Stephen lost his mind and just let me riff around Trump’s 19 accusers and how he was helping them learn sex-refusal techniques with a real hands-on approach.

KAT: Ha! It’s like, we already know the sex-refusal techniques.

JASMINE: We’ve all tried them.

KAT: We invented them.

GLAMOUR: Was there a time when you had to say to a male writer, “No way. That won’t fly”?

MOLLY: I remember when Hillary was coming on a year ago, people were still making pantsuit jokes. I was like, “What the fuck are you doing? You’re minimizing this woman to her clothes?” We’d never talk about a man’s outfit. Everyone heard me and they did cut it, but there is learning to be had. These men don’t know, ya know? So it’s our responsibility to teach them. In the same way, I would hope that we’d all be open to learning about things that might offend straight white guys! [All laugh.]

MELINDA: Funny, I…don’t care about that?

PIA: I am totally fine offending them.

Seth Plattner is a freelance writer and editor in New York City.



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Anna Akana: How Comedy Saved My Life


In a world short on joy, humor can be a unifier and a survival tool. In that spirit, we bring you our Comedy Issue, a month-long celebration of funny (and fearless) women and the enduring power of a good laugh.

Until the age of 17, I was a hyper-Driven student: 4.1 GPA, high SAT scores, and way too many extracurriculars. I had a plan to go into the Marine Corps, like my father, and become a veterinarian, which I’d been diligently working toward as long as I could remember. Anyone who knew me could see: I was going places.

But by 19 I hadn’t laughed for two years, and my free time read like a DARE program’s worst-case scenario. I was drinking myself into blackouts every night, regularly dropping acid or taking Molly (often alone), smoking up to eight joints a day, and refusing to go to college. I was depressed and dragging myself through a hopeless existence with drugs and alcohol to pass the time.

That shift from ambitious student to desperate escape artist happened after I lost my little sister to suicide during my senior year of high school. My family will never know why she made that decision, and it certainly left us with a plethora of mindfucks to sort through.

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To deal, we mainly cohabited in denial. Though we have a family history of both addiction and depression, mental health was not something we talked about. (Years later, when I first went on Lexapro at 26, my parents handed me a bag of vitamin B3 and said, “Depression goes away with old age.” Oh. OK.) My point: I had the odds stacked against me and zero coping skills.

But I needed a sense of purpose, bad, and I went looking for it on Comedy Central. I was high (as usual), and ­Margaret Cho came on my TV. For the next 30 minutes, I forgot my sister was dead. I forgot that my family was fucked up. I forgot who I was, how sad I was, and how painfully hopeless life felt. For that half hour, I laughed and escaped in a way that felt a million times better than any high I’d been chasing. It changed everything.

And so I decided I wanted to do that. I pursued stand-up with the same tenacity I’d previously tackled academics: performing and watching several open mics a night; inhaling special after special, from Whitney Cummings to Rodney Dangerfield; scouring Comedy Central and Netflix archives for more. I dug into obscure routines posted on YouTube and spent hours writing jokes, rewriting jokes, and rewriting them some more. As I dived headlong into comedy, one thing became clear: Many of the people around me were depressed and struggling too. The stories of my fellow comedians blew me away. Some had cancer; some were orphans—some were orphans who had cancer! We each had a sob story, and we were trying to turn our tears into other people’s laughter. Because nothing felt as good as those laughs from the darkness. That was hope. That was love.

Photo by Cat Calico

Some might say it was also a drug. Sure, I may have replaced one high with another, but this one makes the pain in my life seem manageable. To write punch lines about your darkest moments means you have to find what’s funny about them. You have to find a new perspective, a unique angle; you have to take an honest look at the worst seconds you’ve ever seen. Writing jokes about my sister’s suicide (yeah, I go there) forced me to have a new relationship to it. It made me laugh about it, something I never thought I could do, and look at it head-on and explore it with an open, curious mind. Whereas I once cringed whenever someone casually said, “Ugh, I wanna kill myself,” I was now trying to make others comfortable enough to laugh at that exact pain.

Instead of running away from my sister’s death, comedy asked me to walk slowly, to look around and take notes. It asked me to work through what I was going through and find—not necessarily a bright side—but a side that, when looked at in the right light, could make you shrug and laugh. And I did.

Onstage I’ve joked openly about my depression, losing my sister, and the aftermath of our shattered family. I’ve relayed the story of when I told my best friend that my sister had died and he blurted out: “Oh no! Is she OK?!” Well, no. She wasn’t. Nine years of exploring that loss in front of an audience has finally made me OK with it.

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Comedy also let me internalize my struggle with depression as a part of my identity in a positive way: I’m no longer a victim. I no longer see my life as a tragedy. Labels like “clinical depression” or “suicidal” no longer scare me. They are simply part of my story. All of this makes me who I am, which I finally understand is someone worthy. The hard stuff? I now have the emotional endurance to poke fun at it, to look it right in the face.

More important, I’m able to tilt my head to see it in just the right light—and laugh.

Anna Akana is a comedian, author, and executive producer and star of the YouTube Red series Youth & Consequences.



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Jessica Drake: Undermining Sex Workers Is Both Insulting and Life Threatening


On October 22, 2016, I became the 11th woman to accuse President Donald Trump of sexual misconduct.

The Trump campaign publicly stated that not only did he not know me, he “would have no interest in ever knowing” me. Two days later, during an interview with New Hampshire radio station WGIR where he was directly questioned about me, he said:

“These stories that are made up, these are total fiction. You’ll find out that, in the years to come, these women that stood up, it was all fiction. They were made up. I don’t know these women, it’s not my thing to do what they say. You know I don’t do that. I don’t grab them, as they say, on the arm. One said, ‘he grabbed me on the arm.’ And she’s a porn star. You know, this one that came out recently, ‘he grabbed me and he grabbed me on the arm.’ Oh, I’m sure she’s never been grabbed before.”

This, from the same person who was caught on the Access Hollywood tapes saying he grabs women “by the pussy.”

To have my accusations dismissed due to my occupation was infuriating, but it was nothing new in this day of rampant rape culture and victim blaming. Victims of sexual misconduct, assault, and rape are often subject to a litany of questions about what they were wearing, whether they were under the influence of alcohol or drugs, how many people they previously had sex with, why did they put themselves in such a predicament and more. This means many are forced to relive their trauma again and again when testifying in courtrooms. It’s no wonder so many assaults go unreported. This is why abusers go unpunished.

Trump lawyer and former New York City mayor Rudy Giuliani picked up that torch and ran with it at the Globes Capital Market conference last week in Tel Aviv, Israel, attacking Stormy Daniels.

“…I’m sorry, I don’t respect a porn star the way I respect a career woman or a woman of substance or a woman who has great respect for herself as a woman and as a person and isn’t going to sell her body for sexual exploitation. So Stormy, you want to bring a case, let me cross examine you. Because the business you’re in entitles you to no degree of giving your credibility any weight. And secondly, explain to me how she could be damaged. I mean, she has no reputation. If you’re going to sell your body for money, you just don’t have a reputation. Maybe old fashioned, I don’t know.”

I, along with many other folks within our industry, am very much a career woman. Not only am I a performer, I’m also a writer, director, producer, and sex educator. I’m still contracted to Wicked Pictures, the company that I was working for years ago, in Lake Tahoe, where this saga began. I own my name and trademark, which I license to other companies to receive residuals and royalties. I have traveled the world for my career that has so far, spanned more than 17 years.

Am I not a woman of substance? I have worked with Habitat for Humanity for almost a decade. I volunteered on The Jimmy Carter Work Project in Haiti after the earthquake, not once but twice. I have climbed Mt. Kilimanjaro. I formed TEAM WICKED for AIDS Walk LA, and so far, we have raised $100,000 for HIV/AIDS research.

I am an intersectional feminist. I’m an advocate for PrEP. I am an activist. And I am not the only one. Sex workers have substance.

Sell my body? Never. No more than any other laborer sells you theirs. Is a surgeon selling you their hands? No. They are selling their time. I am selling my time. They sell their services, I sell mine. I am selling a fantasy. I retain control over my body and what happens to it. And by the way, many porn stars and sex workers understand bodily autonomy, boundaries and consent better than the general public.

And even the president.

That said, the real danger here is the perpetuating of this archaic misogynistic ideology. We cannot dismiss a woman because she is a sex worker. You cannot say that because we receive money in exchange for sex in some way, we are less entitled to rights afforded to all human beings. And when you do it to sex workers, not only is it insulting, it is also life-threatening. The lives at stake here exist in an already marginalized community, but it goes deeper than that. Within this group are folks at risk who are ever more marginalized. People of color, trans folk, outdoor sex workers, immigrant workers, even women who may be victims of trafficking and others who do not have the platform or support that I have. That Daniels has.

They will suffer. Some may die.

Should they be dismissed based on the fact that they are sex workers? Does this, as you say, ruin their reputation? Should they not be heard or believed?

Giuliani, your harsh words about sex workers and the rights that you strip them of are unacceptable. Do not make excuses for your hateful behavior by saying you’re “old-fashioned.”

Call it what it is: this is unchecked white male privilege that feeds off misogyny and lives to undermine women.

We see you. Time’s up.


Jessica Drake is an adult film superstar, global humanitarian, political activist, and sexual health advocate



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Why Anthony Bourdain's Life Is a Lesson in Allyship for White Men of Privilege to Follow


The culinary world shifted when news that rockstar chef and author Anthony Bourdain died of an apparent suicide was confirmed by CNN on Friday. Bourdain defied the boundaries of his job description, transcending barriers of disparate cultures, and, perhaps among his greatest feats, challenged the status quo he could have so easily chosen to thrive in.

And, aside from what he contributed to the world (taking us on adventures around the globe and giving us all a front-row seat to experience the gritty underbelly of New York City’s restaurant industry through his cult-classic book Kitchen Confidential), that’s why we loved him.

In recognizing his privilege, Bourdain was able to stand up for women, marginalized communities, and even question how his own past choices lent themselves to perpetuating dangerous environments. It would have been effortless for Bourdain to adopt the worldview of men who share his status and influence. Bourdain, instead, explored worlds besieged by that power and challenged its beneficiaries to do better.

In short, Anthony Bourdain was an ally. Not in the vein of entertainers who only wear colorful ribbons at functions and retreat to their luxurious homesteads. He was one who fundamentally believed in, and fought for, people at the margins even when hashtags weren’t trending. Though he could have merely embraced the glamour of glitzy restaurants and exotic locales in his work as a culinary superstar and travel correspondent, he weaved this value system into his work.

On Latino immigration in America, Bourdain once stated: “The bald fact is that the entire restaurant industry in America would close down overnight, would never recover, if current immigration laws were enforced quickly and thoroughly across the board. Everyone in the industry knows this. It is undeniable. Illegal labor is the backbone of the service and hospitality industry–Mexican, Salvadoran and Ecuadoran in particular…let’s at least try to be honest when discussing this issue.”

This was in 2007, before Trump’s walls or the fervent pitch of nationalist rhetoric reached its ascendance.

Bourdain’s ideals reached beyond the food sector to industries outside of his own. When Bourdain’s girlfriend, Asia Argento, added her voice to the symphony of women whose pleas for justice against Harvey Weinstein and sexual violence were finally being acknowledged in the mainstream press, Bourdain accompanied her. “To @dkny,” he tweeted to the designer after she seemed to suggest women had a role in being sexual assault victims, “[h]ow many seventeen year olds have you dressed like they are, in your words, ‘asking for it?'”

He called out the media.

He called out Weinstein’s associates by name.

And he called out the complicity with rape culture embedded in Hollywood and society at large.

In an interview with GQ magazine, Bourdain was asked about his 2014 Parts Unknown episode on the heroin and opioid crisis. He addressed both the double standard of pharmaceutical companies who traffic in drug sales without the stigma of criminality and the sympathy afforded to small town communities and rural whites (which policy makers and media outlets failed to extend to the largely black victims of the 1980s crack epidemic).

“Now that the white captain of the football team and his cheerleader girlfriend in small-town America are hooked on dope,” he asserted, “maybe we’ll now stop demonizing heroin as a criminal problem and start dealing with it as the medical and public-health problem that it is, and should be.”

“These pharmaceutical-company executives are dope dealers,” he added, “and they should be treated worse and more roughly than dope dealers. You’ve got some disadvantaged black kid. You’re working in a one-company town, and that company happens to be a street gang selling heroin.”

Bourdain is gone, this much is true. But as society pushes forward to answer the hard questions about what kind world we want for the future, how inclusive and how understanding we want to be, it’s important to know that allyship is not something you bestow upon yourself.

It’s not your equivalent of street credibility because you went to a protest.

It is, as Bourdain showed us, the way you live your life and make room for others. It’s being inclusive and understanding without being braggadocious. It’s looking inward and being self-aware. And it’s never claiming it for yourself.

Bourdain describes himself on his Twitter bio simply as an “enthusiast.” May we, too, strive to use our own enthusiasm to engage, and advocate for the many people marginalized in parts unknown.





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A $500 Dining Room Table Changed My Life. Here's How.


At first, my husband refused to spend $500 to ship a dining room table from Cleveland to New Jersey. He thought it made no sense. (“Why not just buy a table at Ikea?”) I pointed out that the deal included six chairs and four leaves, that it opened up to seat twenty people and that it was made from genuine American cherry, for crying out loud. We already owned enough manufactured wood to build a bridge over the Cuyahoga River.

Ethan was unmoved. He’s a self-described “anorexic spender,” able to go into complete financial lockdown during lean times. Unfortunately for me, this was one of those times. Unfortunately for him, I’d already been in love with this table for fifteen years.

The table belonged to Joanie and Paul Levin, old friends of Ethan’s family. All we had to do was pay for transportation to our house, where we ate meals with our three toddlers crowded around an old desk resurfaced with tile leftover from a bathroom renovation. The grout was stained with tomato sauce and the legs were gouged from being banged into by the tricycles we kept in our dining room.

“Trust me,” I said. “We need this table. It’s a huge upgrade, and it’s a bargain!”

Ethan pointed out that we didn’t have twenty people to invite over; we were new in town. He thought the Levins’ elegant antique would look out of place among the hodgepodge of junky furniture in our fixer-upper—“like putting a Porsche engine in a Chevy.” Then he went low: reminding me of all the parking tickets I’d gotten recently, resulting in the suspension of his driver’s license (our minivan was in his name); and of the $800 we’d paid a collections agent after I defaulted on the contract for a rent-to-own clarinet (I thought the bills were receipts!).

Our civil discussion devolved into the silent treatment followed by a series of terse emails and then reconciliation.

Ethan agreed to call the movers.

The first time I went to Shaker Heights, Ohio for Thanksgiving with my future in-laws, we celebrated at the Levins’. Joanie and Ethan’s mom, Amy, had grown up on the same block, then raised their kids in houses next door to each other. Paul and Ethan’s dad, Phil, had organized the Sutherland Road block party together for a decade and shared a lifelong loyalty to their hometown, Boston.

I’d never been away from my family for a major holiday, but I immediately felt at home that night. I loved the easy shorthand between Ethan’s family and the Levins—the way Amy knew where to find extra paper towels and Phil stood at the stove ladling pumpkin soup and the kids spoke to each other in the easy shorthand of adopted cousins. Everyone doted on the grandmothers, Edith and Doris, who smiled over the whole tableau as if they were the luckiest people in the world.

Aside from the hamish vibe—a term I learned from these families—I also loved the Levin’s table. It was round, extended to oblong and dressed up in blue and white linens inherited from Paul’s mom. Our Thanksgiving was the whole enchilada of Americana, right down to the Jello mold, but the table would have been equally at home at a banquet with finger bowls and silver candelabra. A lesser piece of furniture might have groaned beneath the bounty (a vat of mashed potatoes, Paul’s famous pies in six flavors); this one didn’t make a peep.

Under the table, Ethan and I held hands through the whole meal.

After that, we found ourselves in the Levin’s dining room for a rained-out Fourth of July barbecue, an engagement party and a celebratory lunch when we brought our first baby to Cleveland. Every time I was there, I admired the table—amber in some lights, reddish in others. Bending down to pick up a dropped pacifier, I noticed that the feet were carved to look like claws.

I love this table the way some people love their dogs. It’s a steady presence, a port in a storm. I know it’s only a piece of wood, but I swear: the table knows things.

Joanie and Paul became surrogate in-laws to me and grandparents to my kids—they were even friends with my parents—so I was surprised and sad when I found out they were getting divorced. I was equally surprised when Joanie called to offer me the table. Didn’t one of her kids want it? Didn’t she want to try to squeeze it into her new place? No and no, she said firmly. Even before Ethan was on board, Joanie gave me instructions on how to take care of the table: “Just a little polish every now and then and don’t worry about coasters. And, trust me, it’s the best place to sit with a cup of coffee in the morning.”

She apologized for any nicks and scratches. I said I was sorry about Paul.

The table arrived on a warm spring day when the magnolias were in bloom. The smell wafted through the front door as the movers lugged in one piece at a time: first the top, then the leaves and finally the two halves of the base, marveling all the while at the heft.

I paid, signed and watched the truck drive away. Then, with my youngest napping upstairs, I arranged all the chairs and the high chair and sat down to eat a civilized lunch alone. Suddenly, it didn’t matter that our couch was hopelessly stained or that our cabinets were held together with duct tape. It was as if this one beautiful thing had waved a magic wand over the rest of our kingdom, making everything around it look just a little bit brighter.

Overnight, the table became the backdrop for our lives. We eat every meal there, plus afternoon snacks and late-night ice cream. Our kids plunk their coats and backpacks on the table when they come home from school. It’s where we blow out birthday candles, fold laundry, do homework, read the newspaper and conduct all important conversations. (Once I overheard our middle kid say to our oldest, “They want to talk to me in the dining room.” His sister’s response: “Wow. You must have used a lot of data.”) The table has been witness to our family’s evolution from picture books to chapter books to SAT prep books to self-help books (mine). It’s been home to art projects—dioramas, posters, construction paper chains—and weathered every writing instrument and form of adhesive (crayons and colored pencils; glitter glue and ModPodge). And don’t get me started on slime; turns out, cherry is no match for Borax.

We only had a few Thanksgivings without Paul. We missed his pies and funny stories, but in the meantime, he always kept up with me and Ethan and our kids. After my dad died, he and Phil quietly took turns filling the empty seat, and they never let me down.

And then the Levins had a grandson of their own, and Joanie and Paul were a team again. That year, as he was arranging his Thanksgiving offerings on Amy’s sideboard, I cornered Joanie in the kitchen: “I’m really happy to see you guys together, but does this mean you’ll want the table back?”

She laughed, looking exactly like Edith, who was also gone. So was Doris. “No, honey, we’re on to a new phase. It’s yours.” Suddenly, it hit me: Joanie and Amy were the grandmothers now.

We have yet to host a dinner party for twenty, and most days our table is only set up for six. But we’ve used the extra leaves for Easter, Thanksgiving, Christmas Eve, a seder and countless book clubs. A few years ago, we upgraded from the high chair and the tricycles to jute placemats and matching silverware. We only have one tablecloth which we don’t use it very often—I like to see the table—but every time I lift it up to put it away, I think of that moment when the groom raises the the veil from the bride’s face. I love this table the way some people love their dogs. It’s a steady presence, a port in a storm. I know it’s only a piece of wood, but I swear: the table knows things. It’s seen it all.

Every morning when I sit down in the dining room with my coffee, watching the sunrise over the house next door, I think of Joanie: another mom in another time, waiting for her kids to wake up while the man who would become my husband left for hockey practice on the other side of the fence. Ethan is not as sentimental as I am, but he has never missed the $500 we paid to bring this table home. And I never say a word when he places his newly-sharpened skates directly onto it; after all, the nicks and the scratches tell a story.

A few years ago, Paul got sick. Not long before he died, he came to New Jersey to visit his childhood friend, George, who also happens to be the lawyer we hired to handle the closing on our house. We invited Paul and George for brunch in our dining room, at the Levins’ old table. I polished it up and set it with my best plates and even went to a faraway bagel store to get the best lox. I hoped Paul wouldn’t notice that the original chairs were missing; I’d given them to a friend and replaced them with modern titanium chairs from Crate and Barrel.

If Paul noticed anything amiss, he didn’t mention it. He stayed for hours: through lunch and into the late-afternoon, to the point where Ethan and I offered him a cocktail and invited him to stay for Chinese takeout. He was thin and weak, and I knew this might be the last time we saw him. He told story after story: about his early days in New York with Joanie; about his kids and his grandsons, who were his pride and joy. Finally, just as Ethan and I were raising our eyebrows at each other across the table (marital shorthand for, “Who’s going to drive to swimming/basketball/dance?”), Paul stood up to go. He laid his hands flat on the table—his table, our table, someone else’s table someday—and said, “This. This is home.”

It always has been, and always will be. Until it belongs to someone else.



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Halle Berry on the 'Catwoman' Failure: ‘I Got a Shit Load of Money That Changed My Life’


Actress Halle Berry spoke out on Monday about her role as Catwoman in the 2003 movie of the same name that wound up being—and there’s no way around this—a box-office bomb. For Berry, coming off of 2002’s Oscar-winning performance in Monster’s Ball, it could have put a stop to her Hollywood dreams. As it turns out, though, Berry has zero regrets about taking the movie on: For her, the movie taught her a valuable lesson about listening to her intuition—and, well, it also made her a ton of money.

She accepted the Matrix Award from New York Women in Communication Monday evening and opened up about Catwoman in her acceptance speech.

“Everybody around me said, ‘Girl, don’t do it. It’s going to be the death of you. It’s going to end your career.’ But guess what I did? I followed my intuition and I did a movie called Catwoman and it bombed miserably,” Berry said. “While it failed to most people, it wasn’t a failure for me because I met so many interesting people that I wouldn’t have met otherwise, I learned two forms of martial arts and I learned not what to do.”

She also added that she made “a shit-load of money that changed my life.”

And then Berry dropped some incredible advice on the audience: “I say that to say, Following your intuition doesn’t always mean you’re going to be successful or win the prize, but it means you’re always going to learn the exact lesson or get the exact accolades or the exact check that you’re supposed to get for yourself. Never compare that to anyone else.”

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