52 pages • 1 hour read
Matthew PerryA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Perry undergoes treatment at the Cirque Lodge in Utah. Here, a counselor named Burton leads Perry to consider his substance use in a new light, suggesting that he “like[s] the drama and chaos” of addiction (178). Consequently, Perry begins to let go of some of his childhood issues and resolves to be a better person. In the center, he tries to help other residents and sets up a ping-pong table for everyone to enjoy. Perry leaves Cirque Lodge healthy and ready to commit permanently to his current relationship. However, his girlfriend does not seem to like the change in him, and they agree to separate.
Perry becomes involved in addiction activism with his friend Earl Hightower. Hightower is a well-known inspirational speaker at Alcoholics Anonymous and also helps celebrity clients with addiction. The author meets him in 2001, and Hightower becomes his sponsor, saving his life several times. Together, the friends campaign to promote drug courts. They argue that non-violent offenders with addictions should be offered treatment instead of imprisonment. Consequently, Perry is awarded a “Champion of Recovery” award in 2013. He also goes into business with Hightower, setting up sober living houses. The author invests $500,000 and transforms his home into a sober living center called Perry House. The facility loses money, and Perry is forced to sell. Despite asking Hightower to return his investment, he is not reimbursed. Losing faith in his friend and mentor, Perry starts using alcohol and drugs again.
Perry co-produces and stars in a TV version of Neil Simon’s play The Odd Couple. Despite his enthusiasm for the project, his addictions mean he is often late and high. Once sober, the author writes a stage play called The End of Longing. In 2016, the show premieres in London’s West End, with Perry playing a character with alcoholism. Tickets sell well, but reviews of the show are not complimentary. Perry is also hurt when his former long-term girlfriend, who now lives in London, declines his invitation to the play, saying that she is getting married and does not have time for friends. The End of Longing transfers to Broadway but receives poor reviews and makes only $600.
The author describes his experience at a “trauma camp” in Florida. Group therapy involves sharing and reliving traumas to achieve catharsis. The treatment makes Perry shake, but he cannot cry like the other patients. The author reveals that in rehabilitation centers, other patients are generally unimpressed by his celebrity status. For example, a fellow patient in her seventies claims to be a Friends fan but repeatedly forgets encountering Perry in group sessions.
Perry is sober for two years and decides he wants a long-term partner and children. During this period, he falls in love with Laura—a TV writer and stand-up comedian. At the same time, he becomes infatuated with a woman named Rome, who he meets at an Alcoholics Anonymous meeting. Perry secretly dates both women simultaneously, but after six months, he decides his long-term future lies with Laura. Rome is angry when he ends their relationship.
After choosing Laura, Perry’s growing intimacy with his girlfriend begins to scare him. Consequently, he starts taking pills again. His addiction escalates, and six months later he goes to a Malibu sober living house. Laura ends their relationship. While weaning himself off the detox drug Suboxone, Perry’s withdrawal symptoms include suicidal feelings. Afraid of being alone, he spends $300 on flowers for Laura. Visiting his former girlfriend, he declares he wants to marry her. As they are talking, Rome enters Laura’s house, and it is clear the two women are close friends. Realizing his mission is hopeless, Perry flies to a recovery center in Colorado to detox from Suboxone. Years later, the author apologizes to Laura and Rome and discovers that they met at an AA meeting. He invites the women and their new partners to dinner at his home. After they leave, Perry feels lonely.
The author recounts two episodes of accidental, comic violence. The first occurred during a dinner party with Cameron Diaz. Although it was supposed to be a date, Diaz was clearly not attracted to him and got “stoned.” When Perry made a joke, she responded by aiming a punch at his arm. However, she missed and punched him in the face.
The second incident occurred in 2004 when Perry met one of his comedy heroes—Chevy Chase. In tennis doubles against Chase and his partner, Perry served at over 100 miles per hour. The ball hit Chase in the testicles, and he was rushed to the hospital.
The author recounts various incidents from his life, illustrating the severity of his addictions. While staying in a New York hotel with sober companions, he orders hotel staff to hide bottles of vodka in his bathtub. He also admits to stealing pills from medicine cabinets when looking around open houses.
While filming the romantic comedy Serving Sara, opposite Elizabeth Hurley, he is so incapacitated by drugs and alcohol that he naps between scenes, waking up just long enough to “scream into a camera” and then go back to sleep (209). Although no one on set challenges him, he knows everyone involved in the movie is angry. After going to a rehabilitation center, he returns to complete the film. Perry’s speech is slurred for much of the movie, so he tries to make amends by rerecording his voice. He also goes out of his way to promote the movie. Despite his efforts, the film is a flop.
The author revisits some of his lowest moments. He describes his shame and regret when he realized his opiate addiction had caused his colon to rupture. He also recalls waking in his Los Angeles apartment to find his mother and Keith Morrison in the room. Perry and his girlfriend had passed out from drugs the previous evening, and his mother told the girlfriend to leave. The author expresses gratitude to both his parents for their support. For example, he describes how his father intervened with the makers of Friends when they pressured his son to return to filming.
Perry now considers himself sober, despite continuing to take the detox drug Suboxone. He partially attributes his sobriety to the severity of his addictions. While working on Mr. Sunshine, he drank up to 14 double vodkas every night and did not feel intoxicated. The author believes that his tolerance for drugs and alcohol became so high that he could not satiate his addiction.
Perry claims he would swap places with any of his less successful friends who do not have the disease of addiction. However, he believes that the severity of his struggles leaves him well-placed to help other people as an AA sponsor. The author credits Alcoholics Anonymous with teaching him how to be a better person. For example, the AA process of taking a personal moral inventory helped him to become less egotistical. He also acknowledges that his fear of being abandoned was irrational. He notes that few women have rejected him, and only one deeply hurt him. Perry describes recently seeing the former girlfriend at a play reading. While she revealed she had two children, he had to admit to being single.
The author reveals that, as a consequence of his opioid addiction, he needs further bowel surgeries. Perry also notes that he has gained weight from giving up smoking and barely recognizes himself. Nevertheless, he perceives himself as a more mature and authentic human being. He is now content to write, collect art, and look for a life partner with whom he can have a family. The author is also having a new house built.
Perry’s therapist tells him to imagine life with a permanent colostomy bag whenever he thinks about OxyContin. The therapy works, creating an aversion to his favored drug. Perry feels that the only viable replacement for Oxycontin is heroin, which he fears will kill him. Consequently, his craving for drugs disappears.
After quitting Oxycontin, 52-year-old Perry notices he is wheezing. Consulting a doctor, he learns that his lungs are so damaged he will die by 60 if he does not quit smoking. Struggling to give up the last of his addictions, Perry consults hypnotist Kerry Gaynor. After a few sessions, he gives up cigarettes with few withdrawal symptoms. Soon afterward, the author’s top teeth fall out when he bites into a slice of toast. Pain from the resulting dental work prompts Perry to return to smoking. However, he consults Gaynor again, determined to quit for good.
Perry confirms that he is still sober, no longer smokes, and shares his home with his assistant Erin. He admits he did not envision being single at the age of 52. However, he feels grateful for all the people who have been important in his life. He acknowledges his parents, his friends, the women in his life, the people who helped him overcome addiction, and his costars. Recalling the moment from Chapter 7 when he alone was unable to cry at the filming of the final episode of Friends, he says that during the Friends reunion, he was the cast member who cried the most. He now feels able to embrace life and new challenges. He is currently writing screenplays and has taken up the sport of pickleball. Addressing the reader directly, Perry offers the benefit of his experience. When facing a crisis, he advises readers to ask, “What would Batman do?” (250).
Chapters 8 and 9 chart Perry’s search for a new direction as he reaches his forties. However, his attempts at self-transformation are largely unsuccessful. In his personal life, the author realizes that The Fear of Abandonment has become a self-fulfilling prophecy. Former girlfriends he once rejected have moved on and started families with new partners. However, despite his urge to settle down and have a family of his own, Perry sabotages his chance to do so when he dates Laura and Rome at the same time. His loneliness is the result of his own actions, and his enormous home only accentuates his lack of companionship.
Perry appears to turn a corner with his addiction during his stay at Cirque Lodge. The author distinguishes Cirque Lodge from the other treatment centers he critiques in his memoir, because the counselors at Cirque attempt to address the root causes of his addictions rather than merely treating the addictions themselves. The author credits his “Yoda-like” counselor, Burton, with helping him confront his festering resentment toward his parents.
Newly sober, Perry describes finding an alternative to the pursuit of fame in his collaboration with Earl Hightower. The goal of helping other people with addictions gives him a new purpose. However, the ultimate outcome of this partnership illustrates the danger of letting one’s self-image depend on someone else. When he loses faith in Hightower as a mentor and business partner, Perry reverts to old behavior patterns, relapsing into substance use.
The Interludes between Chapters 8 and 9 are notable for their self-deprecating humor. In “Trauma Camp,” the author’s description of an elderly Friends fan conveys how group therapy helps to deflate his celebrity ego. The woman’s inability to remember previous encounters with him helps Perry realize he is not “the center of the universe” (210). “Violence in Hollywood” also portrays the author at less than heroic moments. Perry’s description of the two accidental assaults emphasizes the honesty of his memoir and the author’s ability to laugh at his foibles.
The title of Chapter 10, “The Big Terrible Thing,” returns to the concept of addiction as a terrifying and overwhelming force. Here, the author explores his overriding theme—The Nature of Addiction—in more detail. Perry jokingly refers to those who have not lived with addiction as “normies,” and for the benefit of the normies among his readers, he articulates how the experience of addiction feels. The author presents a diorama of moments from his life to illustrate the personal and professional lows his substance use caused. He also conveys the shame associated with these incidents. Perry personifies addiction as a manipulative assassin inside the brain, waiting for the first sign of weakness. He links the constant temptation to relapse with the patient nature of addiction. During periods of recovery, the disease is “just drumming its fingers” (226). Looking back on his life, Perry says he would have sacrificed his success to be free of addiction. This is a hard-won recognition, and not a sacrifice he would have made as a young man, before he understood what fame and addiction were. This statement stands in contrast to the bargain he made at the outset of his acting career: “God, you can do whatever you want to me. Just please make me famous” (81).
Perry credits Alcoholics Anonymous not only with helping him give up alcohol but also with his growth as a person. The practice of performing a moral inventory—one of the 12 steps in the AA program—plays a crucial role in this transformation, forcing him to acknowledge his “selfish and narcissistic” traits (210). Realizing he “was all about [him]self from the time [he] was ten years old” allows Perry to view his childhood issues of abandonment from a more balanced perspective (210). Instead of blaming his parents for everything that happens to him, he learns to feel gratitude for their support.
In “The Smoking Section,” Perry summarizes how he also gave up drugs and smoking with the help of two therapists. The description of his cure is strikingly brief compared to the author’s many other accounts of rehabilitation attempts. Perry suggests that his eventual success in overcoming addiction is due to his fear of death and reaching the point where “there’s not enough opiates in the world to make me high anymore” (220). The author also sees God’s intervention as a significant factor, presenting his eventual triumph over all his addictions as a miracle.
In the final chapter, the author describes the peace of his present sobriety. Perry’s calmer, more subdued authorial tone reflects that his “life is no longer on fire” (228). Having replaced addiction and the pursuit of fame with healthier interests, he remains lonely but expresses gratitude for his survival against the odds. Perry is having a house built, once again doing “a geographic,” though not such a big one. After decades of moving from one home to another in an attempt to escape himself, he is finally laying down roots. The chapter’s title, “Batman,” contrasts with the earlier Interlude, “Matman.” The author suggests that in achieving sobriety, he has finally attained the superhero status he once aspired to.