Wesley Morris

And he's like, no, they haven't.

That's insane.

What was that supposed to mean?

No.

Get out of here.

So cut to Meg Ryan...

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.