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Here's Our First Look At All The Badass Women Of "Wonder Woman"

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Ladies, time to move to Themyscira.

We've known for a while that the Gal Gadot is going to slay as the new Wonder Woman, AKA Diana Prince, who comes to the mortal world to protect humanity.

We've known for a while that the Gal Gadot is going to slay as the new Wonder Woman, AKA Diana Prince, who comes to the mortal world to protect humanity.

She's one of the few Amazons who still believe mankind is worth saving.

DC Entertainment

But what prepared Diana for her time with us mere mortals?

But what prepared Diana for her time with us mere mortals?

DC Entertainment

A bevy of badass women, of course. Thanks to Entertainment Weekly, we have our first look at the women who raised Diana on her native home, the hidden island Themyscira.

A bevy of badass women, of course. Thanks to Entertainment Weekly, we have our first look at the women who raised Diana on her native home, the hidden island Themyscira.

Clay Enos / DC Comics / Via ew.com

Diana, the only child on the all-female island, was raised by her mother, Queen Hippolyta (Connie Nielsen), and her two aunts, General Antiope (Robin Wright), and Antiope's lieutenant, Menalippe (Lisa Loven Kongsli).

Diana, the only child on the all-female island, was raised by her mother, Queen Hippolyta (Connie Nielsen), and her two aunts, General Antiope (Robin Wright), and Antiope's lieutenant, Menalippe (Lisa Loven Kongsli).

Clay Enos / DC Comics / Via ew.com


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Sad Ben Affleck Is Everything

23 Ridiculously Delicious Easter Brunch Recipes

16 People That Totally Nailed Proposing

17 Photos That Scream "Me As A Pet Parent"

24 One-Liners That Are Just Really Great

19 Gorgeous AF Nail Polish Colors You Need To Purchase Immediately

Here Is How To Solve The Problem Of Salty Peanut Dust


17 Whole Grain Treats For People Who Want To Eat A Bit Healthier

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Proof that whole wheat ~can~ be delicious.

Alice Mongkongllite / BuzzFeed

Whole Wheat Chocolate Cinnamon Rolls with Pistachios and Orange Icing

Whole Wheat Chocolate Cinnamon Rolls with Pistachios and Orange Icing

Oh yeah, these are vegan, too. Get the recipe here.

ambitiouskitchen.com

Blood Orange, Cornmeal, and Ricotta Cake

Blood Orange, Cornmeal, and Ricotta Cake

Cornmeal and ricotta are a match made in cake heaven. The moist ricotta keeps the cake tender and softens the cornmeal so it's chewy, not gritty. Get the recipe here.

apt2bbakingco.com

Halva and Spelt Brownies

Halva and Spelt Brownies

Get the recipe here.

Kristin Perers / Via theguardian.com


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Poem: "Trevor" By Ocean Vuong

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Trevor rusted pick-up & no license.

Trevor 15; blue jeans streaked with deer blood.

Trevor too fast & not enough.

Trevor waving his John Deere hat from the driveway as you ride by on your squeaky Schwinn.

Trevor who fingered a freshman girl then tossed her panties in the lake for fun.

For summer. For your hands

were wet & Trevor’s a name like a truck revving up in the night. Who snuck out to meet a boy like you. Yellow & nearly nothing. Trevor going 60 through his daddy’s wheat field. Who jams all his fries into whopper & chews with two feet on the gas. Your eyes closed in the passenger, the wheat a yellow confetti.

Three freckles on his nose.

Three periods to a boy-sentence.

Trevor Burger King over McDonald’s cause the smell of smoke on the beef makes it real.

Trevor I Like sunflowers best. They go so high.

Trevor with the scar like a comma on his neck, syntax of what next what next what next Imagine going so high

and still opening that big.

Trevor loading the shotgun two red shells at a time.

It’s kind of like being brave, I think. Like you got this big ol’e head full of seeds & no arms to defend yourself.

His hard lean arms aimed in the rain. When he touches the trigger’s black tongue, you swear you can taste his finger in your mouth.

//

Trevor pointing at the one-winged starling spinning in dirt & takes it for something new. Something smoldering like a word. Like a Trevor

who knocked on your window at three in the morning, who you thought was smiling until you saw the blade held over his mouth. I made this, I made this for you, he said, the knife suddenly in your hand. Trevor later

//

on your steps in the grey dawn. His face in his arms. I don’t wanna, he said. His panting. His shaking hair. The blur of it. Please tell me I am not, he said through the sound of his knuckles as he popped them like the word But But But. & you take a step back. Please tell me I am not, he said, I am not

a faggot. Am I? Am I? Are you?

Are you Trevor’s eyes: the blue shafts in a gutted mine?

//

Trevor the hunter. Trevor the carnivore, the redneck, not

a pansy, shotgunner, sharpshooter, not fruit or fairy. Trevor the meateater but not

veal. Never veal. Fuck that, never again after his daddy told him the story when he was seven, at the table, veal roasted with rosemary. How they were made. How the difference between veal & beef is the children. The veal are the children

of cows, are calves. They are locked in boxes the size of themselves. A body-box, like a coffin, but alive, like a home. The children, the veal, they stand very still because tenderness depends on how little the world touches you. To stay tender, the weight of your life cannot lean on your bones.

We love eatin what’s soft, his father said, looking dead

into Trevor’s eyes. Trevor who would never eat a child. Trevor the child with the scar on his neck like a comma. A comma you now

//

put your mouth to. That violet hook holding two complete thoughts, two complete bodies without subjects. Only verbs. When you say Trevor you mean the action, the pine-stuck thumb on the lighter, the sound of his boots

on the Chevy’s red hood. The wet live thing dragged into the truckbed behind him.

Your Trevor. Your brunette but blond-dusted-arms man pulling you into the truck. When you say Trevor you mean you are the hunted, a hurt he can’t refuse because that’s

something, baby. That’s real.

& you wanted to be real, to be swallowed by what drowns you only to surface, brimming

at the mouth. Which is kissing.

Which is nothing

//

if you forget.

Trevor lying shirtless on the barn rafters. Trevor wearing the WWII Army helmet he bought for $7 in Wethersfield.

Trevor on his back with his dead mother’s radio to his ear, listening, listening.

The field empty of an orchard. The night empty of fathers.

Trevor so still you had to run a finger across his cheek, to make sure.

& he twitches. & it’s fourth down for the Patriots, says the radio. With 27 seconds to go. & Trevor’s fists are tight as white rosebuds on the first day of June.

All or nothing says the radio.

His ear, every petal, pressed to the black world. We got this, he says.

We got this. & he’s looking up at the ceiling, then through it, to the starless sky & you never knew his voice could be this soft, as if he was whispering a secret to a seed still green in the loam.

We got this, he says as dust coats your lungs, sweat in your eyes, Trevor’s gaze fixed on a star neither of you sees.

We got this. & you believe him.

//

His tongue in your throat, Trevor speaks for you. He speaks & you flicker, a flashlight going out in his hands so he knocks you in the head to keep the bright on. He turns you this way & that to find his path through the dark woods.

The dark words—

which have limits, like bodies. Like the calf

waiting in his coffin-house. No window—just a slot for oxygen. Pink nose pressed to the autumn night, inhaling. The bleached stench of cut grass, the tarred gravel road, coarse sweetness of leaves in a bonfire, the minutes, the distance, the earthly manure of his mother a field away.

Clover. Sassafras. Douglas fir. Scottish Myrtle.

The boy. The motor oil. The body, it fills as it fills up. But your thirst overflows what holds it. But your ruin, you thought it would nourish him. That he would feast on it & grow into a beast you could hide in.

But every box will be opened in time, in language. The comma

on his neck a border, a break. The line broken, a queering of syntax, of Trevor, who stared too long into your face, saying Where am I? Where am I?

Because by then there was blood on your lips.

By then the truck was totaled into a dusked oak, smoke in the wrinkled hood. Trevor, vodka-breathed & skull-thin, said Stay. Said Just stay

some more as the sun slid deeper into the trees, as the windows reddened in the weak light, You should stay here, they reddened like someone trying to see

through shut eyes.

//

Trevor who texted you after two months of silence—

writing please instead of plz.

Trevor who was running from home. Who was getting the fuck out. Soaked Levi’s. Eye a burst plum from his daddy’s one-arm-lost-in-the-war haymaker. Who ran away to the park because where else when you’re 15.

Who you found in the rain, under the metal slide shaped like a hippopotamus. Whose icy boots you took off & covered, one-by-one, each dirt-cold toe, with your mouth. The way your mother used to do when you were small & shivering.

Because he was shivering. Your Trevor. Your all-American beef but no veal. Your John Deere. Green vein in his jaw: stilled lightning you trace with your tongue.

Because he tasted like the river & maybe you were one wing away from sinking.

Because the calf waits in his cage so calmly

to be veal.

Because you remembered

//

& memory is a second chance.

Trevor’s head tilted back, dipping into the dream again. Trevor with one good eye searching, searching. Ink-throat opened behind his incisors.

Both of you lying beneath the slide: two commas with no words, at last, to keep you apart. You

who crawled from the wreckage summer like sons leaving their mothers’ bodies.

A calf in a box, waiting. A box tighter than a womb. The rain coming down, its hammers on the metal like an engine revving up. The night standing in violet air, a calf

shuffling inside, hoofs soft as erasers, the bell on his neck ringing

& ringing. The shadow of a man growing up to it. The man with his keys, the commas of doors. Your head on Trevor’s chest. The calf being lead by a string, how it stops

to inhale, nose pulsing with dizzying sassafras sweetness. Trevor asleep

beside you. Steady breaths. Rain. Warmth welling through his plaid shirt like steam issuing from the calf’s flanks as you listen to the bell

across the star-flooded field, the sound shining

like a knife. The sound buried deep in Trevor’s chest

& you listen. That ringing. You listen like an animal

learning how to speak.

***

Ocean Vuong holds a BA from Brooklyn College and will complete an MFA from NYU in 2016. His poems have appeared in Best New Poets, Harvard Review, Kenyon Review, The Nation, New Republic, The New Yorker, Poetry, and The American Poetry Review. He has published two chapbooks, No (2013) and Burnings (2010); his first full-length collection, Night Sky with Exit Wounds, will be published by Copper Canyon Press in 2016. Vuong is the recipient of a 2014 Ruth Lilly and Dorothy Sargent Rosenberg Poetry Fellowship from the Poetry Foundation. He is originally from Saigon and lives in New York City.


Beverly Cleary Is Turning 100 Years Old And She's Witty As Ever

17 Hilarious Tweets About Pooping You Need To Read Right Now

16 Extremely Helpful Charts For Anyone With Big Boobs

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Decode those boulder holders.

Know what kind of bra you're looking for to please those 2 happy customers.

Know what kind of bra you're looking for to please those 2 happy customers.

When picking up a balcony bra, the fit is absolutely crucial to avoid any boob lines or indentations that are visible through your shirt.

brasforbigbusts.com

Identify your boob type so you can pick a bra that does the heavy lifting.

Identify your boob type so you can pick a bra that does the heavy lifting.

To get killer cleavage with bell shape breasts, opt for a balcony bra with padding at the bottom. Learn more about boob shapes and the beautiful bras that fit them at ThirdLove.

thirdlove.com

Actually understand WTF your bra size means.

Actually understand WTF your bra size means.

Understanding cup size versus chest size is crucial.

Style Guru / Via 9gag.com

Know that the size of your over-the-shoulder-boulder-holder depends on A LOT of different things.

Know that the size of your over-the-shoulder-boulder-holder depends on A LOT of different things.

Like the firmness of your boobs and the width of your back and shoulders.

lifehacker.com


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16 Magnificent Ways To Eat Bread For Dessert

14 Photos Of The Historic Night The Rolling Stones Rocked Havana

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The Stones played a free concert for hundreds of thousands of Cubans Friday night, the first mainstream band to do so since 1959.

The Rolling Stones played a two hour concert to hundreds of thousands of Cubans Friday night, capping off a historic week for the island nation.

The Rolling Stones played a two hour concert to hundreds of thousands of Cubans Friday night, capping off a historic week for the island nation.

Joe Raedle / Getty Images

The band became the biggest mainstream act to play in the country since the 1959 revolution brought a communist government to power, and isolated the island from the Western world.

The band became the biggest mainstream act to play in the country since the 1959 revolution brought a communist government to power, and isolated the island from the Western world.

Joe Raedle / Getty Images

During the height of the Cuba's communist government, popular music from the U.S. and the United Kingdom was banned and fans had to listen in secret, hiding their records.

During the height of the Cuba's communist government, popular music from the U.S. and the United Kingdom was banned and fans had to listen in secret, hiding their records.

Yamil Lage / AFP / Getty Images

Mick Jagger, Keith Richards, Ronnie Wood and Charlie Watts played 18 of their hits to the massive crowd in the open-air Ciudad Deportiva (or Sports City) in Havana Friday night.

Mick Jagger, Keith Richards, Ronnie Wood and Charlie Watts played 18 of their hits to the massive crowd in the open-air Ciudad Deportiva (or Sports City) in Havana Friday night.

Yamil Lage / AFP / Getty Images


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How To Make The World's Best Vegan Cheeseburger

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Beef’s gonna have to step up it’s game, yo.

Edd Souaid / BuzzFeed

Makes 12 burgers

recipe by Jack Shepherd and Christine Byrne

INGREDIENTS
2 4-ounce vegetarian smoked apple sage "sausages"
2 14-ounce tubes vegetarian "ground beef"
1 small yellow onion, minced
2 tablespoons roughly chopped sage leaves
3 cloves garlic, minced
½ cup minced steamed beets (about 2 small beets)
½ cup bread crumbs
½ tablespoon kosher salt
2 tablespoons canola oil, plus more for cooking
12 slices vegan American "cheeze"
2 large, ripe avocados, thinly sliced
3 large tomatoes, thinly sliced
12 vegan hamburger buns

PREPARATION
Remove the vegetarian sausage filling from its casing and roughly chop the sausage filling. In a large bowl, combine the chopped sausage filling, "ground beef", onion, sage, garlic, beets, bread crumbs, kosher salt, and canola oil. Use your hands to mix everything together evenly. Divide the mixture into 12 equal balls, then use your hands to shape the mixture into patties roughly 1-inch thick and 4-inches wide.

Heat a thin layer of canola oil in a large skillet over medium heat. Add the patties to the hot skillet, working in batches of 3 to 4 patties at a time. Cook, without touching or moving the patties at all, until the underside is browned and starting to blacken in places, about 3 minutes. Flip the patties and top each one with a slice of vegan cheeze. Cook until both sides are slightly blackened and the patty is hot all the way through, 3 to 4 minutes more. Repeat with the remaining patties.

Serve each patty on a hamburger bun with sliced avocado, tomato, and your choice of condiments!

The Trials And Triumphs Of Heidi Cruz

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LM Otero / AP

Around 10 p.m. on the night of Aug. 22, 2005, the Austin Police Department dispatched Officer Joel Davidson to an intersection a couple miles west of the Texas city’s downtown. A passerby had called to report that a woman in a pink shirt was sitting on the ground near the MoPac Expressway with her head in her hands, and no sign of a vehicle nearby. When the officer arrived, he found the woman on a swath of grass between an onramp and the freeway. She said her name was Heidi Cruz.

According to a police report recently obtained by BuzzFeed News, Officer Davidson proceeded to question Cruz, whose husband, Ted, was then serving as Texas solicitor general. He asked what she was doing by the expressway; she replied that she lived on nearby Hartford Street, and "had been walking around the area." She went on to tell Davidson that she was not on any medication and that she hadn't been drinking, aside from "two sips of a margarita an hour earlier with dinner." He wrote that he "did not detect any signs of intoxication."

The heavily redacted report goes on to describe that Davidson believed Cruz was a “danger to herself,” and notes that she was sitting 10 feet away from traffic. He asked if he could transport her somewhere — the proposed location is redacted — but she was "reluctant, stating that maybe she should ... get a ride home" instead. Eventually, Cruz followed him to his patrol car, and they departed the scene.

In response to questions about the incident, an adviser to Heidi Cruz's husband, Sen. Ted Cruz, sent a statement to BuzzFeed News shedding light on a period of their lives that the couple has not previously discussed in public.

"About a decade ago, when Mrs. Cruz returned from D.C. to Texas and faced a significant professional transition, she experienced a brief bout of depression," said Jason Miller, an adviser to the senator. "Like millions of Americans, she came through that struggle with prayer, Christian counseling, and the love and support of her husband and family."

BuzzFeed News requested an interview with Heidi Cruz to further discuss that night in 2005, and how she dealt with depression. A spokesman replied that she would consider the offer, and then two days later, reported back that she politely declined.

According to someone familiar with the situation, the Cruzes were aware of the police report — which was obtained by BuzzFeed News in response to a wide-ranging series of public-records requests — and they were resigned to the fact that it would eventually be made public, particularly as Ted Cruz moves toward a likely 2016 presidential bid. But while Heidi Cruz was not ashamed to talk about her experience, the person said, she ultimately decided against it because she didn't want to minimize the struggle of those who suffer from depression their entire lives by trumpeting her own happy ending.

The incident was a rare moment of visible vulnerability for a woman widely known to the public and among friends as an unflappable high achiever with preternatural poise. In a series of recent interviews with people close to the Cruzes and a review of her public appearances little mentioned in press accounts, the portrait that emerges is one that many career-oriented couples would recognize: two driven people, delicately negotiating the push and pull of their respective careers — and wrestling with the conflicts, compromises, and disappointments inherent to such a project. In 15 years of marriage, their parallel professional ascents have carried them from the bullpen of a national campaign to the upper echelons of Wall Street and Washington — and could soon have them contending for the White House.

For Cruz, the former Heidi Nelson, the trajectory was always expected to involve big things. She grew up in California with a religious family of Seventh-day Adventists, who stressed that personal success could be measured by good works. At just 4 years old, she began accompanying her parents on mission trips to Africa, where they provided free dental care to locals. When she was 12, she read a Time magazine article about the 1980 presidential election, and started to take an interest in government as a vehicle for public service, in its most literal sense. By the time she arrived at Claremont-McKenna College, a small liberal arts school outside of Los Angeles, she was plotting the intricacies of a career trajectory designed to one day land her a plum appointment in the federal government working in international affairs — an area where she felt she could make a difference in the world.

"She really knew where she wanted to go, and was all about getting there," said Ed Haley, a Claremont professor who became Cruz's mentor. They would meet often to discuss her career goals, and to talk through and tweak her various ladder-climbing strategies. "If you look over the past 50 or 75 years of the U.S. foreign policy establishment, most of those who are appointed into high positions are lawyers. Heidi and I discussed this a great deal," he said. "That's the mold." But she had little interest in being a lawyer; she wanted her private-sector training to be in business. So, they discussed which corporate skill sets might best position her for a job in a future administration, and she settled on finance.

Many who knew her believed she saw Wall Street as a pit stop. "She did definitely have a strong interest in government," said Jack Pitney, another Claremont professor, who helped get her an internship on Capitol Hill.

After a few years at J.P. Morgan in New York, she went to Harvard Business School and emerged, MBA in hand, with a bevy of lucrative job offers — including a highly coveted spot at Goldman Sachs.

Instead, she took an unpaid job on George W. Bush’s 2000 campaign.

Years later, she would explain her thinking at the time to a baffled-looking student interviewer during a taped Q&A at her alma mater. Cruz said she viewed the counterintuitive choice as a "measured risk," and recalled that her professors at Claremont had urged her to seize any opportunity she got to join a presidential campaign. "I didn't even have to touch base with them at the time ... for me, the decision was very clear," she said.

Haley, who closely watched his former protégé’s career, was thrilled to see her sticking to their plan. "That was very much the direction we had discussed," he said. "I had told her that, in general, political appointments come to those who find a way to do something constructive for politicians, and joining a campaign is one way to do that."

She turned down Goldman, packed her bags, and headed for Austin, where she took a position on the campaign's policy team, stashing her workout gear in a tiny cubicle, and spending long days tinkering with budget math and editing memos.

It was there that she met Ted Cruz, the ostentatiously brilliant, motor-mouthed Harvard Law grad who liked to talk about his debate championships, Supreme Court clerkship, and big plans for the future. Some in Bush headquarters were repelled by Ted's transparent ambition and steroid-infused self-confidence, but Heidi was drawn to him. She ended the campaign with a new husband, and an offer to work at the U.S. trade representative's office.

Those who encountered the couple were often struck by their almost palpable affection for each other — and the sharp contrast in their personal styles. Both Cruzes carry a kind of intensity about them, but whereas Ted's often manifested itself in passionate bursts of rhetoric that were not always properly calibrated to the setting, Heidi's was quieter, more polished and restrained. "It's hardly a revelation that Ted says off-the-wall things, whether it's with friends at dinner, or on the floor of the Senate. Heidi's not like that. She's not confrontational," said Haley, who added, "They're obviously deeply committed to one another." Another friend recalled, "He would light up every time he talked about her. It was always when he seemed the most human."

Several people also mentioned the earned intellectual respect they seemed to share for each other. "My sense was they had spirited conversations, in the best sense of the word, where they were both looking at each other to engage, and bounce ideas," one friend said. "I certainly don't think she's a yes man for her husband."

Her career took off. When Cruz moved to a job at the Department of the Treasury in 2002, she worked with the economist Brock Blomberg on the Latin America desk, shaping policy in response to the emerging market crises of the time. "I never thought of her as a true believer in the sense that she was very ideological," Blomberg recalled. Instead, she distinguished herself with a tenacious drive and a tireless work ethic. "The one thing I can say is she's a very earnest person. Whenever she had an opportunity, she gave it 100%."

Then, in 2003, Cruz was appointed director of Western Hemisphere on the National Security Council, reporting directly to Condoleezza Rice — exactly the kind of job she had been working toward since she carried textbooks across Claremont’s campus. Cruz was viewed by many inside the White House as a rising star, and it seemed likely that she would continue to rise if Bush were re-elected.

Things hadn't been going as well for the other Cruz in the Bush administration. After the campaign, Ted had landed with a thud at the Federal Trade Commission — a low-profile post far away from the action that offered little excitement for someone with his ambition. When he was offered the position of Texas solicitor general — a gig that would place him center stage in federal courtrooms, delivering forceful conservative arguments on behalf of the Lone Star State — it was a no-brainer. Ted moved back to Austin to begin making his name as a litigator, while Heidi stayed in Washington for her dream job at the White House. For more than a year, they maintained a long-distance marriage, flying back and forth on weekends and holidays.

One day in 2004, professor Haley, who had been spending some time at a Washington think tank, invited the Cruzes over for brunch. "Heidi said she was going back to Texas with Ted, and that he wanted to run for statewide office there, and it was too hard to maintain two homes," he recalled. Haley struggled to conceal his disappointment that his star pupil was walking away from the dream job they'd spent so much time planning for.

"Had she not been married, and free to choose, I think she would have stayed for three more years," he said. "My sense is she really loved what she was doing and chose to go back to Ted so that she could help him campaign ... She was sorry to go, and reconciled to going."

Upon returning to Texas, Cruz took a job as a vice president at Goldman Sachs in Houston. But after several years away from Wall Street, she felt out of practice and anxious about proving herself to her colleagues and subordinates — some of whom, she suspected, questioned her abilities, as she described at length in a panel discussion years later. She also quickly found that Houston's finance scene was considerably less accommodating to high-powered women than those of Washington or Manhattan.

"When I came out of Washington and the White House, I didn't feel that there was really a glass ceiling in the administration ... and Texas was very different," she would later say in a 2011 panel discussion. She was the only woman in Goldman’s Houston office, and described fumbling with hunting lingo during conversations with male clients. In the "very traditional culture" where she lived, few of the women in their social circles had careers.

And building financial models for the profit of a major investment bank wasn’t the same as trying to improve markets in poor Latin American countries. Asked years later whether she missed the public sector after leaving it in 2004, she responded, "I'm always quite honest in my answer so I have to say that I really do ... I think there is an important role to making a profit and doing so through a pretty definable skill set, and you can certainly impact industry. But to impact countries rather than companies, individually, is exciting and so I miss that component to it."

These were some of the frustrations weighing on Cruz during the “professional transition” in 2005 that would, according to the senator’s office, lead her late one August night to the grass by an expressway onramp. This period had been a sharp detour for a woman who had carefully plotted a career path she believed would enable her to serve the public and do good in the world.

Since 2005, however, the Cruzes’ lives have been marked by significant successes. Ted ended up taking longer to run for statewide office than planned — he formed and then abandoned a 2010 bid for attorney general — but in the meantime he was freed up to help his wife puncture Houston's finance boys clubs.

She began taking her husband — the accomplished attorney with Supreme Court war stories to spare — to dinners with male clients and colleagues. "He's very useful to me and interesting to clients, so it always helps me to bring in more business when I bring him along," she would tell an audience of Claremont's aspiring female financiers in 2011. She added, with a laugh, "I always kind of get him to help make the ask, and I always kind of go follow up. So, if you can marry somebody that is complementary to your business, it's great networking."

When Ted did eventually embark on a long-shot bid for the U.S. Senate in 2012, he suggested to Heidi, "Sweetheart, I'd like us to liquidate our entire net worth" — more than $1 million — "and put it into the campaign." The way he would tell it to the New York Times, his steadfast rock of a wife "astonished" him when she said without hesitating, "Absolutely." But in her version of the story, she reacted to her husband's proposal more like the savvy banker that she was. As she would recall to Politico, she proposed not investing any of their own money in the campaign "unless it made the difference between winning and losing." Really, she wanted to test the viability of his campaign by seeing if he could drum up funds from other donors. As she put it, it was "just common investment sense."

November 2012 was a big month for the Cruzes: Nine days after Ted won his insurgent Senate race, Goldman Sachs announced that Heidi would be promoted to managing director. And though she continued to miss the public sector, her success at Goldman enabled her to get the firm involved in various philanthropic projects, temporarily satisfying her appetite for service, she has said.

Of course, in the coming weeks, the Cruzes are likely to embark on a mission that, if successful, would make them the most famous public-sector figures in the world. Heidi Cruz has already proved helpful in filling her husband's campaign war chest as he marches off to the presidential fray. Last December, Republican Rep. Kevin Brady, who has deep ties to major political donors in Houston and Dallas, said her status at Goldman and connections in the finance world make her "a wonderful, not-so-secret weapon" for Ted's fundraising efforts. "She's well-respected and has lots of admirers," Brady told the National Journal. "So that could be part of the reaching out — whether it's Wall Street or Texas."

But many who know her wonder how Cruz will respond to the expectations placed on political wives, particularly in the conservative activist circles where her husband is most popular.

Over the course of her husband's rise, she has proudly defied the cookie-cutter molds sometimes forced on candidates' wives, speaking out against "people who believe that women who work outside the home are uncaring and can't be good mother," calling them "just misguided," and adding, "I would work and want to have a career, regardless of if my husband works. It's not only for the money."

When she sat on a 2011 panel at Claremont — titled "Women in Finance: Can You Achieve Work/Life Satisfaction?" — she urged the women in attendance to pursue careers in finance, preaching that they often make better investment bankers than men. She advised, too, that live-in help can be critical for working couples. The Cruzes have two daughters, the elder born in 2008, and live in a downtown Houston high-rise. "I still don't understand my friends who say it's not worth it to them to have someone living with them," she said. "It is worth it to me on every level. I don't mind sharing a bedroom down the hall if someone is willing to do all that. But I'm very comfortable with that and it allows me to work 80 hours a week and be... part of my husband's career, as well.”

But while such full-throated defenses of professional women have been commonplace in Heidi Cruz’s past, comments like those could prove combustible in a Republican primary.

"It's sort of interesting to think of her now as a potential first lady sort of person because that's not how I saw her back then," said Blomberg, who worked with Cruz at Treasury. "I just didn't see her as making her career about her husband ... I see her as being a lot deeper than that."

As for professor Haley, he has continued to track his protégé's career over the years, and holds out hope that she will one day return to an administration job, perhaps after their daughters are grown up. "She really does have the ethic of public service," he said. In the meantime, he said he was in awe of how she has managed to accomplish so much.

"It can't be easy to juggle all these balls: family, work, and Ted's ambitions," he said. "Her life is a complicated one. But that's Heidi. She can handle that."

Andrew Kaczynski contributed reporting to this story.

Correction (8:04 p.m., March 18): When a police officer approached Cruz in 2005, he wrote that he believed she was a "danger to herself." A previous version of this story misquoted the report, which is linked above.

The First Movie That Proved Lesbians Deserve Happy Endings, Too

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For anyone who’s frantically googled “How do I know if I’m a girl who likes girls???” within the past 10 years, the Gay & Lesbian section of Netflix is an all-too-familiar place. A sizable percentage of those searchers likely found the affirmation they were looking for after streaming Donna Deitch’s 1985 lesbian romance Desert Hearts.

Three decades after it was made, this particular lesbian romance — about Vivian, a 35-year-old English professor from New York who, in 1959, temporarily relocates to a ranch in Reno for a quickie divorce, then meets a wild-hearted younger woman named Cay — still resonates, particularly with a new generation of viewers. The film, which is based on the novel Desert of the Heart by Jane Rule, has experienced a spirited second life, spurred by streaming options like Netflix and Amazon Prime. Young women make fan cuts on YouTube, reblog GIF sets on Tumblr, and reach out to the director, Deitch, with their stories.

This week, Desert Hearts returned for a special screening in 35 mm at BFI Flare: London’s LGBT Film Festival. When Flare (formerly known as the London Lesbian and Gay Film Festival) launched in 1986, Desert Hearts was on its starting slate, at a time when lesbian stories were barely getting made, let alone being seen by mainstream audiences.

“People will come up to me after screenings at festivals,” Deitch told BuzzFeed News over coffee at the BFI Southbank theater. “They say, ‘Can I just tell you what happened to me after I saw Desert Hearts? I came out after that.’” At this week’s screening, she announced that she’s going to start asking people to record their revelations. “So many people have been telling me these stories over the years — I decided it was time I start collecting them.”

These days, coming out epiphanies can likely be attributed to a wide variety of pieces of pop culture. In the post-Ellen era, there’s no longer a dearth of lesbian storytelling in film and television — see: The L Word, Orange Is the New Black, et al. Queer people don’t need to look quite as long and hard anymore to see a version of themselves reflected onscreen (though LGBT representation still skews white, cis, monosexual, and male). Even as queer characters become more commonplace in media, however, a certain queer storyline remains, frustratingly, rather rare: happy endings.

When released, Desert Hearts was championed as the first film to depict a lesbian relationship that didn’t end in heartache, disaster, or death. It takes place in 1959, far removed from 2016 (and 1985, for that matter), and yet the final scene swells with hope and possibility.

While on the divorce ranch, Vivian (Helen Shaver), the stiff, stuffily suited English professor, eventually learns to let her hair down thanks to Cay (Patricia Charbonneau), the free-spirited, pottery-slinging young Nevadan who’s looking for more than just another one night stand. Though Cay is confident in her sexuality, Vivian grapples with the standard bouts of uncertainty and repression; she’s worried about what her students back in New York might think about her dalliance (as if students in New York are the unlikeliest of people to be totally chill about homosexuality). Cay’s surrogate mother, Frances (Audra Lindley), who owns the ranch where Vivian’s staying, is a classic homophobe who stokes Vivian’s fears and riles Cay’s defenses. It’s a straightforwardly told and uncomplicatedly plotted film — so much so that, upon its release, some critics called it unimaginative and overly earnest. The widely praised chemistry between the actors, though, sold many on the production. When Vivian finally softens and allows herself to fall for Cay, lesbian viewers were able to picture — perhaps for the first time — lives for themselves in which embracing queerness wouldn’t automatically condemn them to eternal loneliness and shame.

The power of a happy ending hasn’t diminished over time. If there’s anything to be gleaned from the recent uproar over a lesbian’s death on the CW show The 100, which was quickly followed by yet another lesbian’s death on The Walking Dead, it’s that LGBT fans — particularly young ones — still yearn for stories of queer love and triumph, and feel that those stories aren’t told nearly often enough. Todd Haynes’ critically acclaimed Carol, from 2015, has rocketed toward the top of nearly every Best Lesbian Movie Ever Made list in part because it doesn’t reify any tropes about dead or despairing lesbians; the final scene is an optimistic one, just as Desert Hearts’ was 30 years earlier.

Deitch is well aware that lesbian happy endings have been close to nonexistent in commercial cinema. “It was my goal to do a lesbian love story that didn’t end in a bisexual triangle or a suicide,” she said. “That was important to me, because that was the movie I wanted to see, you know? You can call that personal, or you can call that political. But if you come from the era that I come from, you think of the personal as being political. And that, I think, holds true through the ages — the personal is very much political.”

When Deitch first decided to make the film, there had been some studio interest in Jane Rule’s Desert of the Heart, to which she’d secured the rights. But those same studios weren’t necessarily interested in hewing closely to the source material. “I initially went to a couple [meetings], and I knew it was wrong,” she said. “They kept talking about changing the ending, about how [Cay and Vivian] couldn’t possibly be together. And I thought, I’m never gonna make the film that way; that’s not the film I want to make.”

So she set about independently raising $1 million to produce the film; the financing would take her years. Deitch viewed the obstacles that inevitably accompanied the making of a queer movie as, ultimately, advantages. For one thing: Plenty of agents didn’t want their clients to be in the film, thinking a lesbian association would destroy the actors’ careers. “Was that an obstacle? In a way, but maybe it all worked out,” Deitch said. “I couldn’t imagine doing any better than who I got.”

Before Charbonneau and Shaver officially came on board, Deitch had long conversations with the actors about their “full-on commitment” to the film’s sex scene. “I had to look in their eyes and know that it wasn’t just contractual,” she said. “If there were any doubt or fear or reluctance, I wouldn’t have hired them.”

It’s the longest scene in the film (so long that, according to Deitch, her distributor, the Samuel Goldwyn company, asked her to cut it down, even though they didn’t have contractual rights to alter the film). And it's a scene that comes quite late in the game; by that point in the just-beginning-to-drag narrative, everyone watching is just waiting for the inevitable.

After numerous scenes brimming with songs meant to fill the wide Nevada skies — by Patsy Cline, Buddy Holly, Johnny Cash — Cay and Vivian finally, finally end up alone in a room together, and everything goes quiet.

“The only sounds I wanted were in the room: traffic, church bells, whatever,” said Deitch. “I didn’t want them to have the radio on, nor did I want to have it scored. I just wanted it to be raw. And real. And true to that moment.”

The resulting few minutes remain one of the most lauded lesbian sex scenes in recent film history. There are no quick, disorienting cuts; no sweeping, dramatic music; no gross, objectifying super-close shots. It’s two women moving and breathing together in a room. It’s two women fucking, that widely mythologized and fetishized act. And unlike so many lesbian sex scenes (not like we’re necessarily deluged with options), it was made for women who have sex with other women.

Desert Hearts is, overall, a story about women. Refreshingly, while there are a couple male characters — similar to but ultimately unlike the 1939 classic The Women, which also takes place in quickie-divorce-enabling Reno, and has no speaking men’s roles at all — they’re bit parts, more or less insignificant to the plotline. Instead, it’s the relationships between Cay and her best friend, Cay and Frances, Frances and Vivian, and, of course, Vivian and Cay that drive the story. The women are the ones who matter.

While some aspects of the film might not stand the test of time — the characters’ development doesn’t extend very far beyond their sexuality and their struggles with homophobia, both internalized and externalized — Desert Hearts marks an extraordinarily important moment in queer film history, wherein good sex and coupled happiness for lesbians entered the realm of cinematic possibility, and, by extension, into the lived experiences of so many who have watched it since its release 30 years ago. And that kiss scene in the rain will never, ever get old.

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