Wesley Morris

Her eyes go, oh, okay.

There's like a twinkle, like a little mischievous twinkle.

She's telling us, she's telegraphing to us what she's about to do.

And she kind of half smiles and she proceeds to start her orgasm.

Are you okay?

And she does not break.

And this is a really difficult thing to do, both directing and editing-wise, because you have to, there's a rhythm that has to be maintained here.

But you also have to establish that she is staying in this orgasm, and he is going to suffer through the discomfort of watching her perform it.

That's—we got to talk about the sandwich.

Because it's just a pile of meat.

But there's a cut to Harry in his increasing awareness that what is happening is happening, and he is about to lose this argument.

But Billy Crystal is performing increasing mortification at the fact.

It's interesting because it's simultaneously him losing this argument and him being embarrassed by this spectacle that she's creating.

And there are so many looks on his face of just like, oh, my God.

She's, oh, my God.

Oh, my God.

And he's like, oh, my God.

And so there's this tension.

There's this, like, physics between his...

mortification and her ecstasy and an important thing happens at about the 30th second in this scene wow you really well of the orgasm part of the scene the scene goes like three minutes long it's this the camera's on meg ryan mid fake orgasm and the man turns around behind her