"The desire to get married, which - I regret to say, I believe is basic and primal in women - is followed almost immediately by an equally basic and primal urge - which is to be single again"
About this Quote
Ephron’s line lands like a well-timed rimshot: it flatters a romantic myth just long enough to puncture it. The parenthetical “I regret to say” is doing heavy lifting. It’s mock-apologetic, a wink at the expectation that a woman should treat marriage as destiny. By calling the impulse “basic and primal,” she borrows the language of biology to mimic the way culture loves to naturalize women’s choices. Then she flips the script: the “equally basic and primal urge” isn’t to nest, but to bolt.
The joke works because it’s not only about marriage; it’s about the churn of scripts. Women are trained to want the wedding, the ring, the proof of being chosen. Yet the day after “happily ever after,” they meet the institution itself: the administrative labor, the social policing, the slow shrinkage of self that can accompany being “a wife.” Ephron’s punchline doesn’t deny desire; it exposes how quickly desire curdles into claustrophobia when it’s been sold as a finish line rather than a trade-off.
Context matters. Ephron wrote from inside the late-20th-century American marriage plot and its media machinery, when women were promised empowerment while still being measured by coupledom. Her comedy is a survival tool: say the unsayable, laugh, keep moving. The line’s sly provocation is also its critique: if both urges feel “primal,” maybe neither is. Maybe they’re just the predictable aftershocks of a culture that romanticizes the ceremony and underestimates the cost of the contract.
The joke works because it’s not only about marriage; it’s about the churn of scripts. Women are trained to want the wedding, the ring, the proof of being chosen. Yet the day after “happily ever after,” they meet the institution itself: the administrative labor, the social policing, the slow shrinkage of self that can accompany being “a wife.” Ephron’s punchline doesn’t deny desire; it exposes how quickly desire curdles into claustrophobia when it’s been sold as a finish line rather than a trade-off.
Context matters. Ephron wrote from inside the late-20th-century American marriage plot and its media machinery, when women were promised empowerment while still being measured by coupledom. Her comedy is a survival tool: say the unsayable, laugh, keep moving. The line’s sly provocation is also its critique: if both urges feel “primal,” maybe neither is. Maybe they’re just the predictable aftershocks of a culture that romanticizes the ceremony and underestimates the cost of the contract.
Quote Details
| Topic | Marriage |
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