We all understand that any top 10 list is going to be subjective, so I'm mystified why those who created this one won't admit as much, and thus take more responsibility for the impact their limited choices will have in the industry and the marketplace. As Kamy pointed out, the language of their introduction to the list is remarkably passive -- as if the list somehow was handed to them. It seems disingenuous to me to pretend that the work which rises to "the top" of anything in our society does so based solely on artistic merit. And if PW now wants to minimize the difference between the top 10 and the top 100, why bother making 2 lists in the first place? The fact that women were included in the top 100, but not the top 10 reminds me of the dialogue that happened earlier this year in the theater community about the lack of productions of plays by women. Although many people pointed out that women's work does get produced "downtown" and off off Broadway, it was generally acknowledged that the biggest gender discrepancy lies in the Broadway and off-Broadway world, where work is not only produced, but reviewed, published,and distributed to other theaters. As one writer put it, the discrepancy exists at the level of production which actually moves careers forward.