Entertainment Weekly reported last week that Michelle Rodriguez will be reprising her role of disgraced LAPD cop Ana Lucia Cortez this season on Lost.

What's that you say — she's dead? Well, speculation on the Internet suggests she'll return as a zombie (doubtful), as a hallucination (totally possible given the island’s maddening history) or as (drum roll please) a flashback.

Maybe the flashback is to occur in the second episode with Hurley as the main focus of the storyline. Chances are the big guy’s going to be kicking it with the ghosts of his Lost past. Perhaps Ana Lucia doesn’t even appear as a ghost — maybe Officer Cortez has some sort of scuffle with Hurley’s shady father, played by Cheech Marin.

Earlier this week, Björk issued a statement that took the Icelandic publication The Reykjavik Grapevine to task for crediting Valgeir Sigurðsson with writing the arrangements on her 2001 album, Vespertine. The singer responded to the news item in a detailed statement that includes a list of the album’s credits. Björk wants to make the music press accountable for perpetuating the perception that men turn all the knobs in the production of electronic music.

Her full post appears on her website. The excerpt here gives one of four reasons why the misunderstanding around crediting continues to persist.

I´ll admit that one thing could confuse things: people have to use their ears and actually read the creditlist[sic] to get this information. all the music i have made: like for example string arrangements, synthbasslines [sic] or programming of electronic patterns, i never play myself live because i want to give 100% of myself into the singing i either ask the computers to play it or i get other musicians to play it. this could confuse things.

She also makes reference to a journalistic incident with M.I.A., the London-based Sri Lankan electro artist, citing Pitchfork Media’s insinuation that her musical partner at the time, Diplo, was responsible for her sophomore release, Kala.

What can I say? I love stoner humor — and I got plenty of it without actually having to inhale at the new Seth Rogen/James Franco flick, Pineapple Express, which opened to glowing critical acclaim and a healthy toke of dough at the box office. While I laughed myself into near seizures, I had to pause and think about how there hasn’t really been a female driven stoner comedy.

Why wasn’t there a female stoner comedy scorched into our collective memory; a film that could stand the test of stoner time? I could not for the life of me recollect ever seeing any female comedy duos like Rogen and Franco or Cheech and Chong. I would love to have a protagonist I can identify with and I have a feeling a lot of movie watching females feel the same way, too.

When we do see women in pot smoking flicks they are most likely looking down at the loser stoner boyfriend, like Katherine Heigl’s character in Knocked Up. You never see female stoners concocting hilarious plans to take over the world, save the object of their affection or feed their munchies like the dudes get to do when they are feeling White Castle. Sure, there’s Mary Louise Parker playing the MILF-weed queenpin on Showtime’s Weeds, but that’s television. (You have to give it up to Mary-Kate Olsen though for playing a great pot-smoking Christian bohemian on the show.)

Film is different, and I can’t help but wonder if there is a new kind of celluloid glass ceiling for women to conquer. We’re seeing more mainstream acceptance of a highly contentious sub-cultural pastime and I for one know plenty of communities of women that partake in a little puff the magic dragon. Do women want a little stoner humor to call their own?

Last week Betty Skelton Erde, an 82-year-old retired stunt pilot and auto racer who was once the fastest woman in the world, got inducted into the Motorsports Hall of Fame of America in suburban Detroit. She is only the fifth female inductee. Erde attended the ceremony and was among several other racing legends inducted, including Champ Car driver Michael Andretti.

Erde has said she had a teenage obsession with aviation that led her to take flight lessons before she reached 16. She flew and performed aerial tricks for air shows all over the country, and her popularity and skill set led her in 1956 to meet Bill France, NASCAR co-founders, who invited her to Daytona where she discovered that a car was just as good if not better than a plane.