I am still not over it.) And yet, her post-Ephron output has in no way matched that of Tom's. She is a sublime actor, with the power to elevate the most dense of schmaltz (Kate & Leopold anyone?) and lend heart to melodrama (City Of Angels did her wrong. She had displayed it previously in When Harry Met Sally - one of the greatest, if not the greatest, romantic comedy of all time - and later in Sleepless in Seattle, her first of three collaborations with Tom that, again, allowed us to ignore borderline deranged behaviour thanks to the sheer, unadulterated loveliness that she exudes from every, glowing pore. It came as no surprise, of course, that Meg possesses the perfect combination of comedic and dramatic talent. It is her performance - not that of Tom Hanks - that draws us in, and permits us to forget that Tom's character Joe is duplicitous and deceitful. In You've Got Mail, Meg Ryan is infectious. Then, get angry at how the industry did Meg Ryan wrong. Absorb its calm and nostalgic treatment of love at the dawn of the computer age. Let You've Got Mail's charm wash over you.
The delightfully twee romantic comedy from Nora Ephron may span several months, but it is distinctly autumnal, displaying New York in its finest season while romanticising the divine blur of September, with its park walks and bouquets of sharpened pencils, into November and its parade of Thanksgiving parties and Christmas prep. If you are the sort of person who enjoys timing their film screenings with the seasons - Love Actually at Christmas, Hocus Pocus at Halloween - then you might like to know that now is the perfect time to log in to Netflix and press play on You've Got Mail.