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Anatomy of a Wedding | 47www.jrfm.eu 2018, 4/2, 39–53 The “need” for marriage is another important theme in endorsing compul- sory heterosexuality in this program. As a Christian, April firmly believes that sex should only be enjoyed within the confines of marriage, thus necessitating her union with Jackson, with whom she regrets losing her virginity. Further, as a respected and busy surgeon, Miranda struggles with being a single parent and views her marriage to Ben as providing a father figure for her young son, Tucker, and a parenting and household partner for herself. The program lends support to the cultural truth that having a marital partner is the most economi- cally and socially effective familial structure. The need for marriage in order to both create and maintain the nuclear family is portrayed in these situations, thus endorsing the notion of compulsory heterosexuality. GREY’S ANATOMY WEDDINGS: CHALLENGING FEMALE GENDER PERFORMANCE AND COMPULSORY HETEROSEXUALITY The portrayal of weddings in Grey’s Anatomy does a great deal to challenge both feminine gender performance and the social construct of compulsory heterosexuality. The main themes in the subversion of expected gender per- formance are seen in the characters’ disinterest in a “white wedding” and the importance of career over marriage. Compulsory heterosexuality is clearly re- jected when no woman in the program adopts a partner’s surname and when marriage is perceived as a contract rather than a traditionally gendered fairy- tale. GENDER PERFORMANCE While nearly all of the weddings portrayed on Grey’s Anatomy featured per- formance in a white dress, the exceptions are meaningful in considering how “woman” is played out in this program. Most notably, lead character Meredith is unenthusiastic about hosting a wedding and loathes the notion of being a traditional bride. She openly tells her future husband, Derek, “I’m not really a church-wedding bride or a poufy white dress bride” (S5, E20). Even though Izzie is planning Meredith and Derek’s wedding for them and Meredith does not have to worry about the details, she resists the notion of a traditional wedding: “Now I have to go home and put on a corset and pantyhose and a petticoat and look like one of those idiots on top of a wedding cake” (S5, E22). When Mere- dith and Derek eventually get married legally at City Hall, they “didn’t have time to get rings” (S7, E20), again rejecting traditional expectations. Further, well before the City Hall wedding, Meredith and Derek draft their promises to one another on a blue Post-it, sign it, and consider themselves married. Meredith’s rejection of attention and celebrated femininity, together with her disinterest