‹ All movies

The opening montage and Zabar’s encounter

Amanda Dobbins: One participant chooses the opening New York montage, especially the leads passing each other, the Cranberries cue, and the Zabar's cash-only encounter.

Amanda Dobbins: The montage is praised for establishing a precise Upper West Side world, teaching a newcomer what to value about New York, and stating the movie's comforting terms immediately.

The film

You've Got Mail (1998)

Directed by Nora Ephron · Comedy

119 minutes

Cast

Selected cast credits · Film reference

Tom Hanks Joe Fox
Meg Ryan Kathleen Kelly
Katie Sagona young Kathleen Kelly
Parker Posey Patricia Eden
Jean Stapleton Birdie Conrad
Dave Chappelle Kevin Jackson
Steve Zahn George Pappas
Dabney Coleman Nelson Fox, Joe's father
Greg Kinnear Frank Navasky
Heather Burns Christina Plutzker
John Randolph Schuyler Fox, Joe's paternal grandfather
Deborah Rush Veronica Grant
Hallee Hirsh Annabel Fox, Joe's paternal aunt

Everything from the episode

In the order the hosts got to it. Open a row for the discussion.

13:44

Most Rewatchable Scene

The opening montage and Zabar’s encounter; the first bookstore meeting

The opening montage and Zabar’s encounter; the first bookstore meeting

In the discussion (4)
Approx. transcript time · 00:13:44Read transcript
  • One participant chooses the opening New York montage, especially the leads passing each other, the Cranberries cue, and the Zabar's cash-only encounter. — Amanda Dobbins
  • The montage is praised for establishing a precise Upper West Side world, teaching a newcomer what to value about New York, and stating the movie's comforting terms immediately. — Amanda Dobbins
  • The other participant chooses Kathleen and Joe's first meeting at the Shop Around the Corner, including the children repeatedly spelling Fox and Joe concealing his connection to Fox Books. — Juliet Litman
  • The bookstore passage is linked to the houseboat greeting, street fair, carousel, Upper West Side setting, and music that build into the first meeting. — Juliet Litman
17:40

What’s Aged the Best?

Its predictions about neighborhood change, online courtship, chat rooms, apartment and clothing style, and catfishing...

Its predictions about neighborhood change, online courtship, chat rooms, apartment and clothing style, and catfishing are said to hold up.

In the discussion (6)
Approx. transcript time · 00:17:40Read transcript
  • Kathleen's warning about chains erasing the experience of New York is compared with the later replacement of neighborhood stores by national retail and banks. — Amanda Dobbins
  • The movie's independent-store-versus-chain story is judged newly relevant because Barnes & Noble later faced the same pressure represented by Fox Books. — Amanda Dobbins
  • Romantic partners now routinely meet through online text, fulfilling the film's central premise. — Amanda Dobbins
  • The over-thirty chat room is compared with modern Slack communities, making the old interface less obsolete than it appears. — Juliet Litman
  • Kathleen's sunny Upper West Side apartment and practical clothes are described as fashionable again after a roughly twenty-year cycle. — Juliet Litman
  • The mistaken online identity is treated as part of the old dramatic lineage that became modern catfishing. — Juliet Litman
23:49

What’s Aged the Worst?

The haircut, appearance-first dating logic, fading earnest rom-com style, dated Internet behavior, and changed Observ...

The haircut, appearance-first dating logic, fading earnest rom-com style, dated Internet behavior, and changed Observer politics receive criticism.

In the discussion (8)
Approx. transcript time · 00:23:49Read transcript
  • Meg Ryan's short haircut is called extremely tied to its moment, though the other participant defends how it looks on her. — Amanda Dobbins
  • The Cafe Lalo setup centers on whether Kathleen is attractive enough for Joe to enter, which the panel says feels superficial and would be written differently now. — Juliet Litman
  • The panel fears a 2017 version would be extremely weepy instead of funny and sentimental, a combination they struggle to find in newer films. — Amanda Dobbins
  • The characters' casual bookish life is described as pre-hipster and unusually earnest rather than ironic. — Juliet Litman
  • The characters' relationship with the Internet is called silly and dated, although it also inspires nostalgia. — Juliet Litman
  • Frank's job at the Observer now reads differently because the paper's ownership no longer matches the liberal independent-bookstore milieu portrayed in the movie. — Juliet Litman
  • Kathleen’s clogs are defended as comfortable and newly fashionable, a counterpoint within the aged-worst discussion. — Juliet Litman
  • A Nora Ephron oral history says the styling brief sought a serious bookstore owner who would not look dowdy. — Juliet Litman
32:26

The Dion Waiters Award for Best Heat Check Performance

Parker Posey and Steve Zahn

Parker Posey and Steve Zahn

In the discussion (13)
Approx. transcript time · 00:32:26Read transcript
42:01

Apex Mountain

Meg Ryan: yes for one participant; disputed

Meg Ryan: yes for one participant; disputed

In the discussion (6)
Approx. transcript time · 00:42:01Read transcript
  • Tom Hanks is denied the apex here, although his 1990s streak and the effortlessness of this performance are treated as extraordinary. — Amanda Dobbins
  • Nora Ephron is also denied a film apex because When Harry Met Sally had greater impact, even though You've Got Mail is one participant's personal peak and most-quoted Ephron film. — Amanda Dobbins
  • Heartburn receives a side case as an underrated Ephron film with funny performances. — Amanda Dobbins
  • One participant declares this Meg Ryan's apex because of the drop in her later filmography and how inseparable her performance is from the movie. — Juliet Litman
  • The other participant gives Meg Ryan's apex to When Harry Met Sally, favoring its diner-ordering performance as less cutesy and more honest. — Amanda Dobbins
  • Carrie Fisher’s performance in When Harry Met Sally is raised as a final apex-side observation. — Juliet Litman
52:28

Who Won the Movie?

Amanda chooses Tom Hanks; the other ballot chooses Meg Ryan.

Amanda chooses Tom Hanks; the other ballot chooses Meg Ryan.

In the discussion (2)
Approx. transcript time · 00:52:28Read transcript
  • Amanda gives the win to Hanks for an effortless, likable performance that demonstrates his unique appeal even outside his top dramatic tier. — Juliet Litman
  • The other ballot says 'I go McRyan' and praises her as winning and charming. — Juliet Litman
Podcast choices