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Deep Thoughts About Stupid Sh*t: A Pop-Culture Podcast
Ever had something you love dismissed because it’s “just” pop culture? What others might deem stupid shit, you know matters. You know it’s worth talking and thinking about. So do we. We're Tracie and Emily, two sisters who think a lot about a lot of things. From Twilight to Ghostbusters, Harry Potter to the Muppets, and wherever pop culture takes us, come overthink with us as we delve into our deep thoughts about stupid shit.
Deep Thoughts About Stupid Sh*t: A Pop-Culture Podcast
Deep Thoughts about Four Weddings and a Funeral
In the words of David Cassidy, in fact, while he was still with The Partridge Family, I think I love you…
Join us this week as Tracie and Emily revisit the 1994 film Four Weddings and a Funeral that they first saw in the theater together. Not only did this film launch Guy girls’ long-standing fixation on Hugh Grant, the floppy-haired embodiment of the word diffident, but it also tells a nuanced and progressive (for the early 90s) story of gay romance, subverts the expectations of female sexuality, and offers some lovely disability representation. While not everything holds up to 30-year hindsight–the characters are all posh white folks with lots o’ money and Andie MacDowell’s character is a bit of a sexy lamp–this brilliantly funny movie is well worth the rewatch.
You are cordially invited to don your headphones and listen to this episode…
Mentioned in this episode
Four things to say about Four Weddings now it’s 25
https://www.dailymail.co.uk/news/article-84804/Four-Weddings-star-dies.html
https://www.dailymotion.com/video/x752gdf
Our theme music is "Professor Umlaut" Kevin MacLeod (incompetech.com)
Licensed under Creative Commons: By Attribution 4.0 License
http://creativecommons.org/licenses/by/4.0/
Learn more about Tracie and Emily (including our other projects), join the Guy Girls' family, secure exclusive access to bonus episodes, video versions, and early access to Deep Thoughts by visiting us on Patreon.
I'm Emily Guy-Burken and you're listening to Deep Thoughts About Stupid Shit, because pop culture is still culture, and shouldn't you know what's in your head? On today's episode, I will be sharing my deep thoughts about the 1994 smash hit film Four Weddings and a Funeral with my sister Tracy Guy-Decker, and with you. Let's dive in.
Speaker 2:Have you ever had something you love dismissed because it's just pop culture, what others might deem stupid shit? You know matters, you know it's worth talking and thinking about, and so do we.
Speaker 1:So come over, think with us as we delve into our deep thoughts about stupid shit All right, tracy, I know you've seen this because we saw it in the theater together, but tell me what you remember about Four Weddings and a Funeral so 1994 is the year I graduated from high school and Hugh Grant was like my ideal man at the time, at least the way he looked.
Speaker 2:Yeah, I felt about him then the way I feel about David Tennant and Michael Sheen and Tom Ellis now. Yeah, I remember that I remember like really liking the way Hugh Grant looked in it and I I remember sort of being shocked, along with the other characters, when there's at the funeral that the two, the gay guys, had been a couple, that they'd been don't know it was a. It was a mix of pathos and and poignancy and I don't know and I remember feeling like duck face was like an unfair insult, like I remember like getting why they did it because we needed to not like the, the rival, but felt feeling like it was really not fair. Uh, and rain, there's rain. That's that, that's that's basically.
Speaker 2:I mean I think that's enough, that's enough of what I remember so, but I'd love to hear, like why did you decide that we should put this one on the?
Speaker 1:hot seat. So I, I too, remember this movie very fondly. Um, I remember it being the first time I really understood how funny a rom-com could be, because there are plenty of funny rom-coms that out there, absolutely even ones that came out before this. But I was in the right place at the right time for this one, and it is. I was texting you last night as I was watching it, going already, this is funny, which I had. I had remembered it being funny, but I had just forgotten how many of the beats it just got so right.
Speaker 1:And the ensemble cast was another aspect of it that I really really appreciated without being able to articulate it. So those are two reasons why it's important to me, why this movie is important to me. I watched it over and over and over again in high school. Yeah, I did. Well, I wasn't in high school, but yeah, me too, yeah, um, and so that that's one aspect of it. But part of why I wanted to bring it to deep thoughts is because of some of the film that Richard Curtis, who wrote it, I feel like, has in some ways gotten away from in his later films. Like I do not have the same fondness for Love Actually or Notting Hill, yeah, yeah.
Speaker 1:Maybe we should put those two on the list because there's a lot to unravel in each of those. Because Hugh Grant's younger brother, his character's younger brother, david, is deaf, and that's actually not only. You know just a part of who the character is. It becomes an important plot point in a way that is not looking down on the character in any way, it's not disability porn at all, it's just it because it's an important plot point that is lovely and shows the connection between the brothers. So there's there's that kind of subversion, and you get a little bit of that in other richard curtis films.
Speaker 1:I'm thinking notting hill. There's the friend of his who gets around in a wheelchair, and there is also some subversion of expectations about women's sexual behavior, with Andy McDowell's Carrie being unapologetically promiscuous and I hesitate to use that word because it's got such a negative connotation and this movie, with one kind of exception, does not shame her for it. It actually makes Hugh Grant's Charles feel overwhelmed in a like oh my goodness, I don't know if I'm good enough for this woman kind of way. So those kind of subversions are just delightful in a lot of ways. But it's still written by a dude and has some dude centric expectations and beliefs baked in.
Speaker 1:But I thought that, considering how influential it was, how unexpected it was, it was made on a budget of it was like 2.2 million pounds, which and I cannot remember if that's adjusted for inflation or not but like $4.7 million, which is a very tiny budget and made in 32 days, whoa yeah. And the original release was to five theaters in the United States and it made like $150,000 in those five theaters in one weekend. So like, oh, let's give this a wider release. And it was, at the time, the most successful British movie ever made. Now there's been one since and I looked it up and I can't remember what it was, but it was a runaway success which was not expected, which I think is part of the difference between this film and Notting Hill I love actually.
Speaker 2:Interesting, okay, cool Well.
Speaker 1:Okay, cool.
Speaker 2:Well, oh, and one other thing. The thing that you mentioned, the LGBTQ representation, which is 30 years on does not seem progressive, but at the time was amazingly progressive, Right, I mean, well, I guess we'll get there.
Speaker 1:Yeah, the friends do all just accept it, but the fact that the two men felt they needed to hide it in the first place. I don't know that it was that it was hidden, it was just they didn't talk about it.
Speaker 2:How could you be that close with people and have them not know if you're not actively hiding it? If they were truly in love and married, yeah, yeah, we'll get there.
Speaker 1:We'll get there, cause that's, that's, that's an important scene.
Speaker 2:Okay, so remind me what's the basic plot line, besides the fact that there are four weddings and one funeral.
Speaker 1:It's funny because I saw someone mentioned that the title sounds like the placeholder title before they actually title the movie and they had tried to suggest other titles and they all sounded stupid. I think Four Weddings and a Funeral is perfect. So we meet Charles and his group of friends. Meet Charles and his group of friends. They're all in their like mid to late 20s through their late 30s. It's not entirely clear how they all know each other, but there's Charles, played by Hugh Grant, his flatmate Scarlett, played by Charlotte Coleman.
Speaker 1:His brother David I think his name is David Brewer, but his brother David, who's played by a deaf actor named David, his friend Tom and Tom's sister Fiona, who are part of the friend group and have been long term. Tom is played by an actor who was in his like early 40s at the time, so he's doesn't look that much older, but you know he's definitely kind of in a different place. Tom and Fiona are extraordinarily wealthy from family wealth. Then there is Matthew, played by John Hanna, and Gareth, played by Simon Callow, who are a romantic couple, but nobody really talks about it and they're at that stage in life where it seems like every weekend they go to a wedding. One of the through lines is that Charles and Scarlett cannot get to weddings on time. The very first wedding is between Laura and Angus, and Charles is actually the best man and he sleeps through his alarm and has to rush to get to the the wedding on time and he forgets the rings so he doesn't.
Speaker 2:I remember that.
Speaker 1:So he like borrows rings from the assembly and that's just ridiculous so he is standing, he doesn't realize he doesn't have them until the the ceremony is beginning, and so, like he signals to matthew like rings. And so they ask everyone in, uh, in the friend group, in the congregation, and scarlet, who is just a delightful character. She's like bright red dyed hair. She ends up later working at a rubber store called Spank Rubber clothing. Like rubber clothing, yes, and presumably the rings are hers and what it ends up being is a plastic heart-shaped ring that is just giant, and then a skull ring. So that's what Angus and Laura get married with.
Speaker 2:It's what they exchange to get married with. Yeah.
Speaker 1:At the reception, charles sees and is immediately smitten with Carrie, played by Andy McDowell, who is an American who works for Vogue sometimes and is kind of in the periphery of this friend group. Throughout the reception he tries and fails to talk to her several times, in part because he is the definition of diffident I mentioned to my spouse last night. I was like, yeah, that's his shtick, it's Hugh Grant's shtick. Before he became like smarmy old guy, he was diffident, handsome guy and he's like what does diffident mean? I was like Hugh Grant guy. He was diffident, handsome guy and he's like what does diffident mean? I was like Hugh Grant. That's what it is.
Speaker 1:He finds out that she is going to be staying at the same hotel or pub hotel that he was going to be staying at until Tom. Until Tom, his friend, invited him to come with the friends and he ditches his friends, goes back to the hotel and ends up spending the night with her. The next morning she makes a joke that like so when are you going to announce the engagement? Because since we slept together, I figured we'd be getting married. And it takes him a minute to realize she's joking and she says well, I'm heading back to America, I have to go. I think we both missed out on a really great opportunity here because clearly they both really really like each other.
Speaker 1:It's not just physical, but timing at the next wedding is between Bernard and Lydia, which is one of the early like funny moments, because Lydia was one of the bridesmaids for Laura and she is really down in the dumps of the reception for Angus and Laura because she was promised sex and there's not so much as a tongue in sight and she's lamenting this to Bernard and Bernard is like well, if you'd like, I'd be interested. And she says, oh, come on, I'm not that desperate. And then at the end of the reception you see them making out and she's like Bernard, I had no idea. And three months later they're getting married.
Speaker 2:Whirlwind, whirlwind.
Speaker 1:So this second wedding Charles is very initially excited to see that Carrie is there, but then she introduces him to her fiance, Hamish, who is at least 20 or 25 years older than her, and he is really, really down about it. Then he sees it's a ends up being like the wedding from hell, cause he is placed at a table with all of his ex-girlfriends and he's been kind of a cad, so he just in that he talks about things with everyone else and so they end up they know stories about each other. They know stories about each other and it's actually a really good encapsulation of who he is, because there's at one point where they're talking about like, oh yes, there was that one woman that he dated who he had to break up with because her mother made a pass at him and he didn't know what to do because it would be impolite to turn her down, and that's right. Her mother was Mrs Piggy and she was Miss Piggy, and then one of the women goes we've lost a lot of weight, oi, oi, like.
Speaker 1:You're a serial monogamist and I'm terrified for you that you're never going to end up with anyone, because every time you're with someone you're looking for reasons to leave. And he sees Carrie and Hamish getting into a taxi and then later on, after he has accidentally been in the same room with the bride and groom, consummating their marriage very enthusiastically. A lot of this film is just about like. You know, if you weren't so british, you could just get out of this situation much easier well, I do recall that they say that they wait a few.
Speaker 2:If they wait a few minutes, they can go again and he's like there, it is found it.
Speaker 1:Yes, yeah yeah, well, that's what he's like. I can't do this again. Whereas if he just said like, hey, I'm in here, let me get out of here when they first came in the door, it would have been fine. Anyway, carrie is back. At the reception he said I thought you'd left and she said no, I was just seeing hamish off. He has to take a train up to Edinburgh, but I'm leaving now if you want to keep me company. And then she invites him up to her hotel room and he says like are you sure? And she's like I think I can resist you, you're not that cute. And then the next scene they're in bed together. I'm like and I remember you and I both were like yes, he is, he is that cute. He really was my type back then. Oh my God. Although I was watching him now, I was like his nose is too small.
Speaker 2:But Like something about in the mid-90s that floppy hair Gosh the floppy hair, that was like the epitome, yeah. And now I'm just like what's with the floppy hair?
Speaker 1:So pinnacle, but yeah and now I'm just like what's with the floppy hair? So, yeah, tastes change. So they uh, it's at the end of that that encounter, like they are laying in bed together and she's like tracing patterns on his chest and they're like staring into each other's eyes and it really doesn't seem like a one-night stand. But she's made it clear she's getting married.
Speaker 1:The next scene that we see is several I think it's a month later where he receives the invitation to Carrie's wedding. He says it's the first Saturday in his adult life where he doesn't have a wedding to go to. It's the first Saturday in his adult life where he doesn't have a wedding to go to. And so he goes to the store where they're registered to look for a gift and runs into her there and she asks him to come with her to look at her wedding dress, to find the wedding dress. So that's an interesting montage scene where I feel like that is where you see the most chemistry between Hugh Grant and Andy McDowell, because they're not the most chemistry heavy leads I've ever seen.
Speaker 2:Mm-hmm.
Speaker 1:And after that they go to a cafe and are chatting and he's talking to her about the wedding or about getting married and how it's going to be odd to know that you'll never sleep with anyone else. And she says, well, I've had my fair run. And he's like, well, what's a fair run? And basically invites her to explain. And so she goes through all 33 men. She has slept with one at a time. She doesn't just say a number, she says, well, first, you know, obviously hard to forget, you know kind of special.
Speaker 1:And then goes through the sixth was on my birthday and my parents' bedroom. And he's like, what birthday? And she goes 17. So, and then she goes through all of that. He starts to try to talk to her about something and realizes he's late to meet his brother. So they go, he introduces Carrie to David and then he goes into whatever it is he's doing with his brother and then runs back and tells her in his very Hugh Grant diffident way I think I love you and I know that this, you know the timing's terrible, know that this, you know the timing's terrible.
Speaker 1:And something I didn't appreciate at the time was he kind of talks over himself and doesn't really say it. And he says, like in the words of David Cassidy before he left the Partridge family I think I love you. And then he says, sorry, sorry to disturb, I'm going to go. And she's like no, actually that was very romantic. And he's like well, I thought it was important to say. And she said say what exactly? And when I was a teenager I felt like that was kind of cruel of her, more assertive and declare himself, because what he says is what I said about David Cassidy, which is very funny, but it strikes me more as as a like a dance there, rather than her asking him to be, uh, to do something that makes him uncomfortable. It's more like look, if you're, if you're clear with me, maybe, maybe we can figure something out.
Speaker 2:Right, it feels like maybe it's also an invitation to be like. Well, what does this mean? Like, what do you want? Right? Yes, yes.
Speaker 1:So the next wedding is Carrie's and Hamish's in Scotland. Charles is late once again and he happens to come into the ceremony just after the vicar has said if anyone knows of any impediment, please speak now. When he opens the door which you know like a little on the nose and as soon as they both say I do, he goes fuck a doodle do, which is my favorite thing. At the reception, gareth says to all of the friends like we go to weddings all the time and I feel like I'm never going to be at the wedding of someone I truly love. So your mission tonight is to go forth and conjugate Find your future, mr or Mrs, and like everyone takes him seriously and kind of goes out and tries to flirt.
Speaker 1:Charles and Fiona have a moment where they talk about, you know, going and trying to meet other people and Charles asks Fiona, like haven't you found Mr Right? And she says, oh, I found him years ago. I've been in love with the same bloke forever. And he goes really who? And of course it's him.
Speaker 1:And there is a really lovely moment between them where he is devastated to learn that she has been in so much pain because of their friendship and yet at the same time he doesn't reciprocate and it's not because he doesn't care about her, it's just. She's just not for him and she has been friends with him because it's better than not being in his life at all and he recognizes how painful that is and his part in it that he was so oblivious to and there's really nothing he can do to make it better. In the midst of the reception they have speeches. Carrie gives a speech which is kind of wonderful, and then Hamish gives a speech and in the midst of it Gareth has a heart attack and dies, and so we get to the funeral where Matthew goes up to speak. Now the vicar introduces him as Gareth's closest friend, which really, really bothered me this time watching it and he gives this. It's a really moving speech about.
Speaker 2:He reads the poem.
Speaker 1:Funeral Blues by wh odin. But before that even he talks about, like, how to remember gareth. You know how to remember him as so joyful, like, pick your favorite of his waistcoats because they were all ridiculous, and remember him that way, remember his, his horrible experimental cooking, his generous hospitality. And then he says I don't know what to say, so I'm going to use the words of another wonderful bugger, wh Oden. And he reads this poem and it makes me tear up every time.
Speaker 1:And after the funeral Tom and Charles go for a walk and they talk about the fact that, like how did we not know that we've all prided ourselves on being single and not married? And you know, two people were to all intents and purposes married. And you know they jokingly say they're traitors in our midst. And Charles says if we can't have a love story like Matthew and Gareth's, like there's no point in trying to get married. Whereas Tom says I never thought that it was going to be like hit by thunderbolt. I always thought I'd find some nice, friendly girl and like the look of her and hope the look of me doesn't make her physically ill and settle down.
Speaker 1:So the next scene is ten months later and you see a wedding invitation, because each of these, each of the weddings, is preceded by an image of the wedding invitation. And this wedding invitation says Charles, and, and there's a flower over the bride's name, so you don't know who it is. His friends, because he has so much trouble getting up on time, they trick him into thinking it's later than it is to get him to the church, like an hour and a half before he needs to be there, and he calls them all bastards. So they eat breakfast outside the church chatting about, about things, and Fiona raises a toast to Charles's beautiful bride duck face and you learn that he's he's gotten back together with his ex girlfriend. As things get closer to the wedding starting, carrie arrives and Charles is very delighted to see her and asks how Hamish is, and she says he's fine. I believe he's fine. And he's like what, what's going on? And she's like we divorced.
Speaker 1:March was hell. By April it was sorted. And so he freaks out because he knows that he is not in love with Henrietta the way he is with Carrie. But that English diffidence, like I can't just say okay, everything has to stop now. So he confesses all this to Matthew and David and David says okay, there are three options. You go out there and tell everyone it's off, the wedding's canceled. Second option is you go through with it. And he's like okay, neither of those really helpful. And he's like so what's the third option? He's like I haven't thought of a third option.
Speaker 1:So once the vicar gets to the, if anyone knows a reason these two should not be wed, david knocks on the pew to get everyone's attention and signs to Charles I've thought of a third option. And asks Charles to translate the British line language where he says like I believe that the groom is having cold feet. I believe that the groom wants to cancel or postpone. I believe that the groom is having cold feet. I believe that the groom wants to cancel or postpone. I believe that the groom is in love with someone else. Earlier Carrie had told Charles. Like it's really easy, just say I do to any question. Anyone asks you. And so the vicar says to Charles do you love someone else? Charles Do you. And he goes I do. And Henrietta decks him.
Speaker 2:I mean appropriately so.
Speaker 1:He has every right to do. The next thing we see is them back at Charles's house. He's like beating himself up. One of my favorite moments is David says like I blame myself. And he says it in a way where, like most of them, I think, understand British Sign Language.
Speaker 1:But he's he's facing Charles and they're like what did he say? And Charles says they, he says he blames himself. And they're all like oh, absolutely not. No, no, no, no, no. And Charles says they all blame you too. It's just such a brother thing to do. It's just such a brother thing to do. Carrie knocks on the door to just make sure he's okay. And there's the way too overwrought conversation in the rain where he tells her I realize that the person I wanted to commit to was not the one standing next to me in the church, it's you, and you know, would you consider not being married to me for the rest of your life? And the film ends with a montage of images of all of the individuals coupled up and happily so, and starting with and I'm appreciative to the filmmakers for this with Henrietta like they show her, um, getting married to someone who's in the British military officer yeah.
Speaker 1:Yeah, they show Fiona with Prince Charles. Um, tom is with a woman that he met at Charles's wedding, thunderbolt City, thunderbolt City. Matthew is, um is like, happily enjoying himself with another. Another um, very handsome gentleman. Scarlett is married to a very tall Texan she met at Carrie's wedding. Who am I forgetting? I think that's everyone. And then Charles and Carrie with a baby, so very heteronormative, but you know Well, except for Matthew. Except for Matthew, yes, it's just, it's the baby thing. Oh, the baby. Yeah, yeah, I have thoughts on that.
Speaker 2:Okay, so that's the plot. So what do you want to unpack here?
Speaker 1:So let's talk about gender. It passes the Bechdel test. It's a squeaker. It's better than Event Horizon, because it's not just like coffee's cold. But the one conversation between two women that has nothing to do with men is at the first wedding. Scarlett sees Laura coming down the aisle and she goes oh gosh, isn't she gorgeous. And Fiona says to her Scarlettlet, you're blind. She looks like a giant meringue.
Speaker 2:So yeah, so they're not talking about a man, but they are tearing down another woman.
Speaker 1:So yes, but to be fair, scarlet is not, and that is fiona's personality yeah, and that is Fiona's personality. Fiona, when Charles first meets Carrie, asks her do you know who that woman is in the hat? And she says yes, her name's Carrie, she's American, she works for Vogue and he's like she's very beautiful and she goes slut. And I want to talk about that for a couple of reasons. One is the fact that I forgot that was in there.
Speaker 2:Yeah.
Speaker 1:Just had forgotten. But the other is that that is not an uncommon response to Carrie's characterization, to the point where I can recall our Aunt Valerie saying she had trouble enjoying the film after the scene where Carrie talks about all of her lovers Because, like I remember her saying, like didn't you think she was just kind of a slut? And that's a damn shame. I did a little bit of uh digging last night. I was looking up, you know, reviews and analyses of the of the film and a lot of people really don't like Carrie and they look at her as manipulative and cruel and a gold digger a gold digger?
Speaker 2:Does Charles have money?
Speaker 1:Hamish does oh and I know that I struggled with the fact that she and Charles slept together after she's engaged to Hamish. I know that I, like as a kid, I struggled with that because for me, I have very, like, I had very strong views of right and wrong, blah, blah, blah. But even that it was you know she had. She had the like look, I'm not going to cheat, once I'm married I'll told him. Told him, I'd kill him if he did. So I'm going to follow the same rules. So it's not my mores. But she does have, like she, she has something in mind of what she wants, and I think that is something that people really have a problem with. And then they are wondering, like, why on earth would she be with Hamish, other than the fact that he, like the way he's described, is he owns half of Scotland? And I think that this is where I want to come back to the baby. This is where I want to come back to the baby.
Speaker 1:I wonder if it's a much more charitable interpretation of Carrie. Is that she's ready to not be who she's been, she's ready to settle down? She probably, she wants to have kids and she really likes Charles. But when they first meet, his best man speech talks about how he cannot imagine making a commitment. So her first introduction to this man is that he is not ready, willing or interested in commitment and she wants something that we have been taught you need commitment for. Like, if she wants to have kids and Hamish loves her, she says she loves him. That seems reasonable to me and you know, we're all allowed to make stupid mistakes.
Speaker 2:Well, especially, I mean, if the if part of the narrative is meant to convince us that she and Charles have a genuine connection that actually makes her do things that she maybe knows she shouldn't do, but she really likes Charles. You know, what I mean Like. I feel like that it's less a. It's less a kind of what's the word I'm looking for. It's less a detraction from her morals and more evidence of her strong attraction to Charles, which maybe would have read more sympathetically if the chemistry was stronger between the two leads too.
Speaker 1:And the afterglow, because we see soft lighting and hands moving stuff, a sex scene after the first wedding. With the second wedding we don't see that. All we see is the afterglow and they're staring into each other's eyes. You feel the chemistry there. It definitely doesn't just feel like a one night stand.
Speaker 2:Right. So I mean to me that it really is more of like the strength of the evidence that there was a genuine connection between these people that made her make a choice that, absent the chemistry, she wouldn't have made. So it's not like she was like I'm asleep with as many people as possible until my wedding day. Yeah, yeah, I think, eh.
Speaker 1:Yeah, yeah, I also. I want to kind of pick apart what is so interesting about and what was subversive for 15-year-old me to see, carrie, other than the comment from Fiona. And we've established that Fiona, it's negative about everybody. She's negative about everyone. Duck face, yes, yeah.
Speaker 2:And she says that their friend, the first bride, looks like a meringue.
Speaker 1:Yes, and she's also. She says about her brother. Would I hate him so much if you weren't my brother?
Speaker 2:Like.
Speaker 1:so it's not just towards women, she's just yeah, and some of that is like, you see, when she confesses her love for charles, you see that this is armor she puts on.
Speaker 2:yeah, also charles was expressing interest in her. Yes, so she didn't say that to matthew, yeah it's also ugly like I'm more.
Speaker 1:I'm more okay with the meringue and the duck face than I am with, and partially just because that word has been so weaponized to such devastating consequences for so long.
Speaker 1:Yes, so the scene where she's recounting all of her sexual experience she said there's several funny moments in that Like one of them she says, like at 10 was just wonderful, just gorgeous, just, oh, my God, such a great experience. And Charles goes, I hate him. And then she talks about 12 through 17,. The university years is, you know, very sensitive, caring, emotionally intelligent, boys, sexually, a real low patch, which is interesting. She's recounting all of this and she is not in any way embarrassed, like she's a little hesitant to tell this, say this, but in the flirtatious hesitation way, because she also kind of wants to tell him.
Speaker 2:I just think that that there was something very subversive about that in 1994.
Speaker 1:1994, and it's one of the the things that makes this a movie that still holds up 30 years later, whereas another and I don't know what other romantic comedies came out in 94.
Speaker 2:But I imagine it would be very difficult to sit through yeah, well, I mean, I don't know what years they were, but I think about like the meg ryan tom hanks ones from that era, or like Harry Met Sally, was it earlier maybe?
Speaker 1:Yeah, that was the 80s and with Harry Met Sally it actually holds up relatively well. I've seen it in the past 10 years Now. That being said, you know there is still a lack of conversation between the female characters. Really there is. I was texting you last night where, like they don't give Andy McDowell enough to do in this movie, in a lot of ways she is kind of the unattainable beautiful woman and her sexual experience is in some ways part of that.
Speaker 2:Yeah, it's what makes her unattainable, because then it makes Hugh Grant feel inadequate.
Speaker 1:Yes, and Richard Curtis wrote this movie because he was reflecting on his experience of going to something like he changes the number, Sometimes he says 65, sometimes he says 72 weddings over like a five-year period, where he was just going to weddings all the time and at one of the weddings a woman approached him and wanted to go home with him and he turned her down and he regretted it and so he was writing this movie about that experience.
Speaker 2:So this was sort of wish fulfillment.
Speaker 1:Yes, so he's Charles, and if he hadn't turned her down then maybe Well, and he actually didn't want, like he fought against Hugh Grant's casting because he was too handsome. I don't have a problem with wish fulfillment. I mean I don't have a problem with wish fulfillment. I mean that's why we write. I do wish he'd put a little bit more effort into the women, but they're still lovely, they're still delightful. In a lot of ways Carrie is the least fleshed out, I feel like, of the characters. I feel like we know Fiona better, we know Scarlet better.
Speaker 2:That kind of makes sense, actually based on the inspiration, because she was the unattainable prize that Richard didn't win yeah, that he was too shy to actually claim, and so she's really just an idea, whereas I imagine the others were based on people he knew. Yeah, yeah.
Speaker 1:So I do want to talk about Matthew and Gareth. I cannot recall if I was surprised that they were a couple. I just can't remember. There are a lot of things I remember about the first time I saw it, but I cannot remember. I remember the poem, yeah, and I want to put a pin in the poem because I want to come back to that. As we mentioned, it's progressive for the time, because none of the friends have a problem with the fact that they have been deeply in love. Nor are they exactly surprised. They're like shocked but not surprised, if you know what I mean.
Speaker 2:Mm-hmm.
Speaker 1:And it's very clear that Matthew and Gareth have like the healthiest relationship to love of anyone in this friend group. They're all a mess, Every single one of them. You know Tom is just bumbling and just wants to find a girl who doesn't feel physically sick at the sight of him. Charles is the serial monogamist who is looking for something that is kind of unattainable and just indiscreet and diffident and just not a great partner.
Speaker 2:Pushing people away yeah.
Speaker 1:Scarlett at the first wedding. You see her sit down and say hi and kiss the guy next to her and say don't let me drink too much or else I get really flirty. Fiona's in love with her best friend and has been for years and has not moved forward or done anything about it. She's just let herself be stuck in this miserable situation. So Matthew and Gareth could have taught all of them quite a bit about love, and they clearly didn't talk about it Now in 1994, that was before. Don't Ask, don't Tell, we're right around the same time.
Speaker 2:Well, they were British.
Speaker 1:Oh, I know, I know I'm just talking about globally, generally in the Western world, the view of marriage and civil unions. I saw this they civil unions were not made legal in Britain until like something like 2003 or four, so about 10 years later.
Speaker 2:Yeah, and marriage 10 years after that.
Speaker 1:So some of the keeping this on the DL, I'm sure, was just self-protection.
Speaker 2:Yes, safety, absolutely, absolutely. And I don't know. I would hope that my friends would think me safe enough, mm-hmm.
Speaker 1:Mm-hmm. The mourners at the funeral were gay men known to a member of the filming crew, and so that adds poignancy to the scene. I also, at the time even I appreciated the fact that, because Gareth's parents are at the funeral and they are perfectly fine with Matthew speaking Now, the vicar does describe Matthew as Gareth's closest friend, which feels like a slap in the face.
Speaker 2:Yeah, one that is historically accurate, yeah.
Speaker 1:Yeah, one that is historically accurate. Yeah, I mean, it's like that meme. It's like that meme that I've seen going around that says like hey, fellas, is it gay to be gay? This beautiful nuanced portrayal of what true love looks like, and the fact that and I think that it was important and like beneficial to the LGBT rightsbt rights, lgbtq rights movement movement to have this hugely influential movie, show that scene and show the complete lack of negative response.
Speaker 2:Yeah, yeah, yeah, um, like the I mean talk about the furniture of your mind, right, like in my memory there's maybe it's during this funeral speech we there's like a visual of the two of them together and one of them wipes shaving cream or something off of the other, one's cheek or nose or something, and it's just really sweet and domestic and and just um. I mean to your point about that, these two understood love in a much healthier way than any of their friend group, who were all heterosexual. Is you know, there's something it doesn't underline the thesis, right, that doesn't say it out loud, but there it is in the furniture of our brains of like this is what love can look like. And let's add on top of that we get a good queer, but he's a dead queer, yeah but he died of a heart attack.
Speaker 1:It wasn't aids. True, that is true 1994, because 1994 is when philadelphia came out. Yeah, it certainly could have been.
Speaker 2:Yes, yeah, and then it could have been sort of like gay trauma mining rather than so.
Speaker 1:It's a tragedy that does not come about because of his sexuality Right.
Speaker 1:It's a tragedy that comes about because of his weak ticker Right sexuality, it's a tragedy that comes about because of his weak ticker and Simon Callow looks, or was, I think, a bit older than the rest of the cast. I think he was in his mid-40s, whereas the rest of the cast and John Hanna playing Matthew, I think was in his early to mid-30s. So imagine the opposite. If it had been Matthew who died, I think that it would have felt a little bit more like burying your queers Maybe, but I also I know that that's. It's hard to say because you get so little representation. So, like, anything you get takes on greater significance.
Speaker 2:Yeah, it has to carry a lot of weight. Yeah.
Speaker 1:Now for that poem. I want to talk about that poem which I just remember and I still like last night I was getting goosebumps again and like reciting it along with Matthew. Now I have this stupid limiting belief and I know exactly where it came from that if I do not encounter art organically, that it doesn't count. So it's along with the greatest hits. Albums are illegitimate. So the fact that you found this poem through this movie makes it makes your relationship with the odd in somehow illegitimate.
Speaker 1:Yes, Even though I one thing that I read was that sales of Odin's poetry went up after this movie came out, as it should, and this is particular to me, to us maybe even, but I do wonder, you know, if there are other people who feel like they can't appreciate something if they encounter it because it's been curated, even though I can't appreciate something if they encounter it, because it's been curated, even though I can't imagine a better poem, a better moment for that.
Speaker 1:And I can recall, when I took a poetry writing course in Kenyon, my professor, aaron Ballou, who's brilliant my professor, aaron Ballou, who's brilliant talked about that moment being so well done because it the strength of the poetry. This film was made on a shoestring budget, so it did not do much with camera angles, it did not do much with um, and so it was carried on. The strength of the words and the acting performance Right, and that it's beautiful. Yeah, it's just unbelievably gorgeous this moment.
Speaker 2:Yeah, in my head, like the image of traffic cops with black cotton gloves, is like the funereal image which I've never actually seen, but it's because of Matthew reading that poem in this movie.
Speaker 1:It's, yeah, it also, and I've had this from childhood, where I tend to experience the world through the lens of pop culture, because there are times when I encounter things that I have not encountered before, so I have to go to pop culture. So the first time I went to a funeral, the only time I, the only thing I think about, was um, the music video November rain, um, by guns and roses, because that was the only funeral I'd really experienced. Now I I guess I'd been to one or two when I was a child.
Speaker 2:Yeah, we had a great grandmother. We were really little when she died, but I was very tiny, I was probably about 14.
Speaker 1:And I felt weird about it, that that's what where I was going. But it does help us like contextualize these moments, and I know that. So, when our father passed away, I read a poem and it was Dirge Without Music by Edna St Vincent Millay, which I had encountered in a thriller, but it was the right poem for the moment, and I think that that is part of what makes this a beloved romantic comedy is that it's not just about a joke, a minute and two very attractive people ending up in bed together, which is what a lot of romantic comedies are. This really lets us sit with these characters and get to know them and feel like they are our friends too, rather than in a lot of especially, I feel like the 90s comedies, you'd get kind of cardboard characters like this is the sassy best friend, and so anytime we'd be tempted to do that. Here we get something deeper about the characters.
Speaker 1:Now, something that had not occurred to me and part of this is because it is, I think, very British is the issue of class in this film. Now, class distinctions in the UK boggle my mind. I remember Fiona Hill, who came to America because she's brilliant, but she was like a coal miner's daughter and couldn't could only get so far in England in the 21st century. I just I can't wrap my head around that. But one reviewer, british reviewer was talking about the fact that Curtis very intentionally did not have anyone mentioned what their jobs were, except for Scarlett applying for the job at Spank. Anyone mention what their jobs were except for Scarlett applying for the job at Spank. Because if you're friends, you're at a party, you're enjoying a wedding weekend, you're not going to talk about your job. You're going to talk about the things that are really important to you, which are not necessarily your job. But these are all relatively wealthy individuals and, in the case of Tom, extraordinarily wealthy, like. There's a point where Charles asks him are you the wealthiest man in Britain? He's like oh no, no, we're about seventh. And this reviewer was saying, like one of the benefits of this is, for one thing, it allows you to look at these people sympathetically, where it might be difficult to, if you had a sense of how they voted or what they did with their wealth, and I think that that is a good point. I think Richard Curtis has lived a relatively privileged life and so his characters are relatively privileged. But it's an important thing to think about, like I do recall, you know, on one of the many rewatches when I was a teenager, going like what do they all do for a living? But that was about all I thought about, and other than knowing that Tom and Fiona were wealthy, I didn't really think about like money at all. But that could make a difference, and it does.
Speaker 1:The weddings are relatively monochromatic, they're not very diverse. So we do get the, you know, commendable diversity in 1994 of showing a disabled character who finds love oh, that's who I forgot. At the end there's a young woman who asks Matthew about David. He's like he's kind of a dish and he is. And she asks about the signing at the first wedding and Matthew says like, oh, he can't hear. So he signs, and so at the next wedding she has learned some British sign language, um, but she's, she's making tolls of mistakes because she's getting M and N mixed up and, um, they end up together in a happy couple.
Speaker 1:And so you know, seeing that this is it's not disability porn, so like which is just, it's lovely, it's lovely, it's just a part of the part of the furniture of their lives. But with the exception of one extra, who they remain on for quite some time during the funeral. I don't know that there's a single black character in the film. So overall, this is well worth the revisit. It's Hugh Granite is most charming. Yeah, the revisit. It's Hugh Granite is most charming.
Speaker 2:Yeah, because his, his, charm kind of turned to smarm at some point and he's leaning into it now.
Speaker 1:Now he's like, yeah and and well done, I think it's great, but it's, it's truly funny and not just like there's funny lines there's. You know, there's no binaries, it's not super great on women, but it still gives us some very sympathetic female characters. Female characters and I I remember noticing that they try to make henrietta, poor duck face, look bad, like as she's getting ready for the wedding. She's like oh, I do look good, don't I?
Speaker 2:and then she like does something to her mom. She like she's like snarks at her mom and her dad when he's walking her down the aisle.
Speaker 1:she goes not so tight, dad, and they put that in to make it clear that she's not right for Charles.
Speaker 2:Right. Well, to make it easier for us to accept Charles's actions.
Speaker 1:Yeah, but it's just not fair to her. So I do appreciate that the first thing they show us as the credits roll is her happy marriage.
Speaker 2:Somebody's doing the dishes at your house, yep. Here I'll mute while you synthesize Do you have anything else that you want to lift up, or should I synthesize?
Speaker 1:Just one other. There's a joke at, I think, the second wedding Fiona's sitting at a table with people she doesn't know. There's an older woman there who says are you married? And she says no. And she says are you a lesbian? And Fiona is shocked and is like good Lord, what made you say that? And she said the older woman says, well, it's one of the reasons for an unmarried girl.
Speaker 1:And I figured it was more interesting than saying oh, just haven't met the right chap yet. And Fiona goes why be dull? And the older woman says thank you. And so Fiona like reveals, like I've, the fact is I've met the right chap and I've been in love with him forever, but he's not in love with me and like kind of just spills her heart out. And I have trouble figuring out how that would, how that feels in 2024. Because I'm looking back on it with the like, the laughter that I had in 1994 at that, that you know the audacity of asking that question. And at the end fiona says and I was a lesbian in that university, but it was only for 15 minutes and I don't think it counts which, it's just an odd moment what's interesting is it's actually not such an audacious question anymore.
Speaker 2:I'm not sure what we posed with specifically those words, but you know, not assuming that someone is straight, yeah actually feels not audacious at all. Yeah, so I think maybe that's, that's part of the like. Hmm, how do? I parse this now.
Speaker 1:Yeah, also like the, are you married?
Speaker 2:That's an audacious question. That's yes, Screw you.
Speaker 1:This isn't of yours and then to immediately follow up with are you a lesbian? That assumes that I mean because in 1994, if you were married, it had to have been a heterosexual pairing. But like that's I think that's also part of it is like Right?
Speaker 2:Because today, even if your answer is yes, I'm married, you still could be asking are you a lesbian? Yeah, Is your spouse a man or a woman?
Speaker 1:Yeah, yeah, and that feels so invasive, like that's nobody's business.
Speaker 2:Whether or not you're married is nobody's business.
Speaker 1:Well, yes, and that I kind of understand in the like oh, we're at a wedding, so like, we're thinking about.
Speaker 2:Tell me about your wedding.
Speaker 1:Yeah, or you know we're like hanging out with kids. So do you have kids? Like I can kind of see that. Not that I would ever ask like that, but anyway it's. It's an interesting moment. That has aged Oddly.
Speaker 2:I don't know that it's aged poorly, but it's aged oddly just the context that surrounds it have changed so much that the question just stands out yeah, yeah. So I'll I'll see what I can do to synthesize Although you did a little bit of synthesis and sort of looking back at like how it, how it holds up in in the kind of meta sense. So here are some of the highlights of what I heard. This movie was an unexpected success on this side of the pond. It was made very quickly, very cheaply and had a very limited release because there were kind of low expectations. And, lo and behold, we Americans absolutely loved it and it became the most successful British film over here in its day. So that's worth noting.
Speaker 2:As we look back at this film, some of the things that you held up as reasons that it does hold up are that it is very funny, and it's funny in a way that is character-driven, that has funny story beats without sacrificing characterization. So it's not just cardboard cutouts telling us jokes and then falling into bed with one another, but actually fully formed human beings mostly and I say mostly because the one, the female romantic lead, carrie, played by Andy McDowell, is maybe less fully formed, and we speculated that that may be in fact, because this was a little bit of wish fulfillment on Richard Curtis's part where he actually met a woman at a wedding who propositioned him and he turned her down. So he doesn't actually know her and so he didn't have a whole lot to put into that character vessel that he created. So she was a little bit of a sexy lamp. But his friends actually show up in more fully formed, realized characterization in Charles's friends. Some of the diversity beats that the movie does well include Matthew and Gareth, the gay couple, who somehow kept their togetherness, their romance, secret from their friends, which I feel like the jury's a little bit out on whether or not that on like sort of what's behind that. It was, it was the early 90s and there was a a level of safety that required closeting and also I feel like these folks are meant to be close friends. Yes, very much so so. So there's that's one diversity beat. Another is hugh grant's no-transcript disability. That does not happen with David. So good on you, richard Curtis, on that beat.
Speaker 2:Another piece that you mentioned in terms of the characterization, which is in some ways lost in translation to the American audience, is the focus off of class.
Speaker 2:One is left with the impression that all of these folks are fairly affluent, but we actually don't get into the nitty gritty of class distinction among these friends or between these friends and sort of outsiders, and that seems to be intentional and in some ways subversive to allow us to have to imagine them interacting and also to have sympathy for folks who, depending on our class, we may or may not have, who, depending on our class, we may or may not have In terms of, like the feminist lens.
Speaker 2:It squeaks by on the Bechdel test, but just barely when two female characters talk about a third in her wedding dress and the women represented are kind of like you know, they're better than many, especially in the 90s, but maybe would have benefited from some revision or input from a woman in the writer's room because they still sort of kind of move through this movie from the lens of a dude telling the story, of a dude telling the story.
Speaker 2:One thing that is really kind of a through line for us at Deep Thoughts and like this that this movie helps to trigger is thinking about art and our relationship with art and sort of the notions that we both were indoctrinated with and are now working to reject, but they're in there pretty deep that there is a right way I'm putting quotes around right way to encounter art. And if one doesn't do it the right way, then it is somehow illegitimate, that the relationship with the art is illegitimate. And this comes up in this movie because of the poem by WH Auden, or Odin, I don't know how to pronounce it. You said Odin, I've always said Audin.
Speaker 1:I'm pronouncing it like Matthew did. Okay, Well then.
Speaker 2:I'm going to go with it.
Speaker 1:But he's Scottish so maybe.
Speaker 2:Odin about the funeral. I don't remember the name of it Funeral Blues.
Speaker 2:Funeral Blues by WH Oden, which is a gorgeous poem. That is so. The pathos is so deep and poignant and, like in my head, I can hear that actor's voice he is dead. He is dead, anyway, because you found that poem through this romantic comedy starring friggin Hugh Grant. There is a voice in your head that says that it's not yours, you don't get to keep it and that you are somehow like an illegitimate fan of the Odin as a result of limiting belief for us to continue to unpack we have done before in deep thoughts and I'm sure it will come up again.
Speaker 2:It's interesting to me that it came up in this, like you said, like runaway success, like equivalent of a beach read, uh, in in cinematic form and, and the fact that it was, it's so beautifully delivered with very simple camera angles. This, this is not the artistry of the movie, is not what makes the scene powerful. It's the artistry of the poetry, and all the more to kind of subvert and reject that limiting belief that says that your relationship to it is somehow illegitimate. One quick thing that I forgot to mention on the sort of feminism part. This is just a little additional evidence of what I had already said about Carrie's character, andy McDowell's character being less than fully formed. The way that you put it, I think, was really apt, which was that Andy McDowell was not given enough to do in this film. So I just wanted to like re-underline that idea, the way that you put that, because I think that conveys what it is that we mean when we say she's not fully fleshed out is that we mean when we say she's not fully fleshed out?
Speaker 1:And part of what drove that home for me is that I have relatively recently rewatched Groundhog Day and I don't think that her character is super fully formed in Groundhog Day. But she's a good actress, like I believed her characterization in Groundhog Day, like I believed in Rita Carrie not so much and I know that like she's the same actress. There have been other things. She was in Sex Lives and Videotape playing kind of the opposite, where she was a very repressed woman in Sex Lives and Videotape and that was just a very nuanced portrayal. It's been years since I saw it but I remember kind of forgetting that it was Andy McDowell in that movie and so that's how I know they didn't give her enough to do, because she can do it. She's not just a pretty face can do it.
Speaker 2:She's not just a pretty face. So I think those are all the highlights that I remember. Is there anything you want to make sure that you say that I missed, or should we? Can we move on?
Speaker 1:I do want to, not that you missed, but just kind of some fun facts and some of the things that I think were why this, this movie, felt like a new kind of romantic comedy to me and to others. They originally screened it for the first time in Salt Lake City and it was because there was some sort of film festival there. But the Americans walked out because the first few lines are fuck, fuck, fuck, fuck, fuck, fuck, fuck.
Speaker 2:It was Salt Lake City. I mean what I made a romantic comedy. I'm going to take it to Utah. What it was Mormons.
Speaker 1:Mormons is where you go. It was because there was a film festival there. It was not because it was Salt Lake City. So they were invited to this film festival, as far as I can understand it, and so they were convinced to re, um, re, uh, shoot, re-release it. Yeah, the original scene with a bugger instead of fuck. Oh. So if you've ever seen it on tv with that, that's probably that's.
Speaker 2:That's where that came from yeah, bugger is the way I remember it. And then the vicar says and and hugh grant says he's like trying out the acoustics, and the vicar says, he does too, but with different words.
Speaker 1:That is what is in the film. It's specifically the initial scene where when he wakes up and he's late and he's like fuck and that's all he and Scarlett say to each other, like back and forth and back and forth, and I think that that kind of level of F-bomb is not unusual anymore.
Speaker 1:Today, that wouldn't make people, I mean maybe maybe in Salt Lake City, but yeah, but in 1994, I do, and I think some of this is also just Americans hearing British people with what we think of as posh accents. I have no idea if they're actually posh or not. I don't really have a sense of of like I can tell the difference between someone who has a Cockney accent and someone doing RP if they're talking to each other. But, in other words, my sister has a very nuanced ear look, I can speak french and that's all I got.
Speaker 1:So, um, but, and I think many americans are in a similar boat where, like, anything british sounds posh to us and so like having these people and I'm I I'm sure that richard curtis did this on purpose where it's like these, uh, these posh looking people at like, wearing, uh like morning, jackets and stuff, uh-huh yeah, going fuck it.
Speaker 1:There is some inherent humor in that, in that dichotomy, yeah, but I think that was also like this is not your mom's romantic rom-com, yeah, um. So the other thing that the Americans wanted was they wanted no clear thrusting in the sex scene. Our mores have changed on that as well in the past 30 years, americans mores.
Speaker 1:And so, because of the walkout, they thought that the film was going to flop. I see, and Hugh Grant had actually thought about giving up acting, he got the script for this. His agent gave him the script and he's like I think you made a mistake, because this script is good. It's apparently been in really crappy things, oh, and he got paid like $35,000 for it. Oh, poor little floppy hair, yeah, whereas Andy McDowell took like a 75% pay cut but still made like $200,000 or $250,000.
Speaker 2:Oh Well, that's very different than what was going on in Hollywood. Good on you.
Speaker 1:Andy Mm-hmm and she was willing to take the pay cut, but she still made like five times what all of the main friend actors made. So, like John Hanna and Simon Cowell and Charlotte Coleman, you know, they all made about $35,000 to $40,000. And she made I think it was $250,000, is what I saw. So and and she took a pay cut because she was like I like this project, I want to be in it.
Speaker 2:Cool, cool, all right, anything else?
Speaker 1:I just want to repeat. So Charlotte Coleman, who played Scarlett, passed away unfortunately very young, in like I think, about 2003. I think she was just a delightful comic actress and I intend, now that I've revisited it, I want to, you know, find some of the other stuff that she was in. When she is talking to Charles about applying for the job at Spank, she's like I think it would be. I'd be brilliant at it at that job. I was like I don't know why people think that rubber is only for perverts. I mean, it's so useful. You spill anything on it and it comes right off and then she goes.
Speaker 1:I guess that's why the perverts like it. I guess that's why the perverts like it. And it's just like the musing. She's like she's buttering toast and like Charles is not really paying attention to her. Oh, it is so delightful. She also in the first wedding. There's a terrible folk duo singing. I Can't Smile without you. Um, during the ceremony, and she's like literally weeping while behind her gareth is miming shooting himself in the head because it's so bad. That's what I mean like character-driven humor, that and um, I had a friend in high school who said she didn't like the movie because she's like you have to pay attention to get everything, specifically meaning she didn't know who lydia and bernard were. Oh, in the uh. The second wedding wedding yeah, um.
Speaker 1:So like she, like everyone was laughing when they saw the uh, wedding invitation, wedding invitation. She's like why is that funny? I don't. Who are those people?
Speaker 2:So Well, thank you for that, I'm I'm going to go rewatch it.
Speaker 1:It's. It's well worth it, it's on. Amazon prime.
Speaker 2:I'm going to go rewatch it. I'm I'm looking forward to it. It was on Prime. I'm going to go rewatch it, I'm looking forward to it. And next time I'm going to bring my deep thoughts about a movie that I actually haven't seen in possibly 35 years, which is the Last Unicorn. My recollection is that I saw the poster or whatever, like a blockbuster or something, and I really, really, really wanted to watch it. Uh, and so dad got it for us and then regretted it because it was not happy. So I'm.
Speaker 1:I have no memory of seeing it. I know that there's a character named schmendrick and that's about all. Yeah, I don't remember either I don't remember.
Speaker 2:I kind of remember the drama in our household. Dad was like annoyed that he had gotten this because it's animated. So of course it was for us, but it was not for us. Well, I will re-watch it and bring my deep thoughts and my recollections to you next time. So in the meantime, listeners, if you are having deep thoughts about our deep thoughts, about this or any episode, please be in touch with us for realsies. You can actually text us. Wherever you are listening, there's like a little button except patreon, but wherever you're listening spotify, apple, google, all of the pod places there's a little button that says send a text message. It really works. So please be in touch. We want to know your deep thoughts. Or send us an email, guygirlsmedia at gmailcom. Let us know and maybe we will read your note on the air. Who knows Em? Any final thoughts?
Speaker 1:Great dress, babe, but why in the hell are you marrying the stiff in the skirt? That's what Carrie's dad would have said had he been there for her wedding Nice.
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