Of Drugs, Fame and Dark Humour:

A reflection on Mathew Perry’s Friends, Lovers and the Big Terrible Thing

Robert Downey Jr., talking about his own addiction, once said, “It’s like I have a gun in my mouth with my finger on the trigger, and I like the taste of the metal.”

For me personally, awkward, uncomfortable, sarcastic Chandler Bing always remained a favourite, easily standing out among such an ensemble group of talent.

The book takes one through a few extremely tough phases of his life, and in this article, I would like to touch upon the two that impacted me the most — his early childhood that, I feel, sets the stage for Perry’s psyche and then later, the years of addiction that finally caught up with him.

UNACCOMPANIED MINOR

The first chapter of the book strikes a sharp emotional chord with the reader. Here Mr. Perry talks about the days of his parent’s separation. The plight of a 5-years-old Perry having to travel alone through airports, carrying a little sign around his neck that read “UNACCOMPANIED MINOR” is an image seared deep into my head now. A sense of abandonment creeps into our own minds as we sense the same creeping in to the little boy flying from Montreal to Los Angeles to meet his father. The journey from this lost little boy to the young adult suffering from severe commitment issues in his personal relationships is quite heart-wrenching, but understandable.

“I need love, but I don’t trust it. If I drop my game, my Chandler, and show you who I really am, you might notice me, but worse, you might notice me and leave me. And I can’t have that. I won’t survive that. Not anymore. It will turn me into a speck of dust and annihilate me.”

In that one statement above lies the crux of Perry’s journey, of his fear of rejection fighting with his constant lookout for validation.

ADDICTION

From this troubled child, to a lost young adult unsure of himself, to a point where Perry falls of the wagon in terms of his addiction (vodka tonic to oxycontin) is a brutally honest journey of a man taking accountability of himself. He painfully remembers the instance where, after the iconic moment in the show of Chandler marrying Monica was shot, he had to be driven to a rehab by a sober technician.

In his typical self-deprecating Chandler-style, he takes a potshot at himself, pointing out how the audience can easily notice the trajectory of his addiction by his appearance in the show — ie., when he is put on weight — its alcohol, when he appeared extremely skinny — its drugs, when he is having a goatee — its loads of drugs. He refers to the real life instance when his colon exploded due to over usage of opioids, and how he was full of shit, literally and figuratively.

One thing that stood out to me was how in the memoir Perry neither glorifies nor demonizes drug usage. Instead, in a very heart touching manner, he makes the reader empathize with the conflicts of an addict while pointing out all the ways it could ruin a life. He underscores the fact that addiction is a state of mind that needs to be addressed with the right medical help.

My last thoughts were how highly appreciable and brave a stance this memoir was — A Hollywood star showing the grit to lay bare his battles with addiction.

Hopefully this will initiate a new dialogue regarding addiction as a medical condition needing medical help like any other ailment, and thus helps alleviate the stigma surrounding it.