There is a nice running gag in which Annie will find herself standing next to men, total strangers, and the people to whom she is introduced, steeped in the ideology of coupledom, keep assuming that she is "with" this embarrassed, random man. There is a magnificent scene in which Annie finds herself in an argument with a teenage girl who wants to buy a necklace reading "Friends for ever". Just before the women visit an impossibly chi-chi boutique to have their expensive bridesmaids' dresses fitted, Annie insists on taking them to a dodgy Brazilian restaurant, where they pick up a dose of food poisoning, with horrendous results. Share via Email Two-part harmony It is her special day. Follow us on Twitter! Big, from the first Sex and the City movie. Her bakery business, in which she invested all her money, has gone broke; she has to walk past the boarded-up premises on the way to a terrible job in a jewellery store in which she cannot help but warn couples buying engagement rings that love won't last. When Carrie found out about the Big decision, she was left standing in the New York City Public Library their beautiful wedding venue in her designer gown, heartbroken, feeling horribly alone. Annie is perpetually finding herself at posh engagement parties and social functions where she is financially out of her league. A good deal has now been written about Bridesmaids being at the vanguard of a new feminist revolution in Hollywood comedy — a sorpack to go with the fratpack — and how, before this, women were marginalised or treated as second-class turns in Hollywood, a theory that holds up if you discount the colossal commercial success of the Sex and the City movies. Carrie is surprised and inwardly thrilled that she is actually going to be a married woman — something she had practically given up hope on. After a lonely honeymoon at least she had her girlfriends!