A woman can love fashion without looking and behaving like an international call girl. Ultimately, both Helen Fielding and Sarah Jessica Parker killed their own franchises, and what's really depressing about this is that it suggests the default position for movies and books about women, for women, is to show them as marriage-obsessed morons. Not since 's Arabian Nights has orientalism been portrayed so unironically. Carrie, you may have bought a lot of shoes in these movies, but ultimately, you sold out. There is a deep sadness in the sight of Carrie and her friends defining themselves by.
Did they just never get it? Apparently, that's all Parker and King could see, too. A woman can love fashion without looking and behaving like an international call girl. The women always wore designer clothes in the series, but the movies are little more than two-hour adverts, a point underlined by the fact that Parker is now the chief creative officer of Halston Heritage, a label that features heavily in the second film. But now, treacherously, the films confirm all the worst and wrong assumptions men, mainly made about the show and its largely female audience. Was the show's genius a fluke that somehow slipped through their conventional, patronising net? All Middle Eastern men are shot in a sparkly light with jingly jangly music just in case you didn't get that these dusky people are exotic and different. The second film goes even further, because King sends the characters to Abu Dhabi. Even Carrie, who works as a newspaper columnist, a job I can personally assure you is not physically taxing, derives real satisfaction from her work, to the point that her willingness to quit it for her Russian boyfriend in the last series is an ominous sign. The original said that Jennifer Hudson was returning to the south. And depressingly, it's no surprise. If this point about youth obsession now being de rigueur is not made clearly enough, behold the film poster, on which the four leads are so airbrushed not only do they not look like themselves, they don't even look human. In fact, the show made this very point in an episode involving an international call girl. I barely had time to schedule this abortion" being quite possibly my all-time favourite and plots that went beyond the limiting convention of cliche. The show didn't judge her or him for that, nor did it get at her for being "old", the way the film does — it just showed how sad it was for both of them and how marriage takes more than just the seemingly perfect ingredients. It was about four smart women, three of whom had no interest in getting married. This was a plotline that seemed so true and heartfelt, two words that one would be hard pressed to employ about the big romantic twist to the second film. The death of Sex and the City is not just a shame for fans, but for all women with higher expectations of movies about women than a compendium of cliches from the Daily Mail. In the films the message is women want a ring at all self-abasing costs; in the show, Carrie rejected Aidan, who was perfect on so many levels, because she couldn't, no matter how hard she tried, bring herself to marry him. There is a whole episode about the women's difficulty in accepting Charlotte's decision to quit her job when she marries, and boyfriends who don't take work seriously are seen as immature freeloaders. Is that too much to ask? But the truth is, the show was fantastic: The term "jump the shark" was even coined about the series-destroying episode of Happy Days in which the characters go on holiday and Fonzie water-skis over a shark. Weirdly, as the show became more successful, it became more conventional, thereby losing its USP. I can hardly make out the smarts and emotions that I used to love because all I can see is the impending conventionalism.
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