In one of the final episodes of ‘Sex and the City’ red-haired Miranda Hobbes, played by blonde-haired Cynthia Nixon, has proposed to her on-again-off-again boyfriend Steve “over three dollar beers.” She hates everything to do with romance and phoniness but, after she tells her friends of the engagement, Carrie, Charlotte and Samantha get misty-eyed verklempt. Getting up from the table because they’re “freaking her out,” Miranda says, “Samantha, I expected more from you.”
The line works because, of the four lead characters, Carrie and Charlotte were the optimist/idealists, while Miranda and Samantha the cynical/realists, although their personal philosophies came from opposite directions. Miranda was the show’s feminist voice while Samantha was a de-political hedonist—a male sexual ego trapped in a woman’s body. Just how inescapable that female body was becomes clear later in the same episode when Samantha discovers she has breast cancer, a risky and brave story line for the writers to insert in the final episodes. When she accidently lets slip her condition at the end of Miranda’s wedding, she reminds her: “No tears. Miranda, I expected more from you.”
While ‘Sex and the City’ will always be associated with Carrie and her musings (but look, I wrote two paragraphs and didn’t even mention Big!) the trajectory of the show more resembled the development of Miranda and Samantha, who both had to let go of some cynicism and independence to accept that love was possible. It’s why, after Steve cheats on her in the first movie, Miranda’s line “I changed who I was for you,” cuts so deep.
Although Carrie had to get over her sarcastic reaction to Petrovsky’s romantic gestures, that didn’t work out too well for her. She ended up with Big, the man who had constantly let her down but she loved regardless. The series started as a tribute to chain-smoking, mid-thirties negativity (“Welcome to the age of Uninnocence,” Carrie voice overs in the first episode) but eventually became one of the most unabashedly romantic shows on TV.
Funnily enough, I think personally I’ve gone in the other direction. I started out with Carrie’s idealism, tested Samantha’s joie de vivre (the polite way to say it), and have settled somewhat on Miranda’s snarky skepticism. It’s maybe what happens in your twenties. But as both a first and second generational fan (I watched it when it first aired, sneaking downstairs late at night to watch it on the family TV as a teenager, and then shared every episode on DVD with my university friends) I will always stand by the show, even as the cultural cacophony has moved against it. After the economy crashed, Carrie’s shopping and trendy restaurant name-dropping instantly looked dated. Entire series have been created as rebukes to the fictional world of dating in New York that ‘SATC’ espoused. But it will continue to irritate me that in an era of philandering, drug-dealing, serial killing, male ‘anti-heroes’ Carrie Bradshaw is the one routinely described as a ‘bad person’.
The movies didn’t help. And I say this as a fan who watched both in the theatre and owns both on DVD. (Even the second one, yes.) There are scenes from both films I enjoy and, if I had any digital editing skills I would put them together into a passable thirty minute long episode, as I heard someone did with ‘Star Wars’. But the final three episodes, in which Carrie gives up her column and moves to Paris, were so perfectly conclusive there was no reason for a first film, let alone a sequel. I will say this for the much-maligned ‘Sex and the City 2’: I appreciated the theme, which was something about it being okay for women to speak their minds, much more than that of the first one, which was ‘forgive the one who love no matter what they do to you’.
I believe screenwriter Michael Patrick King deserves a lot of the blame. From what I’ve learned, the writers’ room for the series was a chattering place where the writers’ bad dates and misadventures in love were worked into episodes. Those different experiences and perspectives became the different voices of the characters and were essential to the chatty spirit of the show. The movies, in contrast, are subdued and quiet, the silence becoming all the more obvious with feature length runtime. He also deserves the blame for completely misreading the zeitgeist and sending the girls on a frothy vacation to Abu Dhabi, a sojourn that pleased no one.
What I’m saying is I can’t handle another movie. Which is why I was glad to see Miranda’s alter ego, Cynthia Nixon, holding out on signing up for a third film. Nixon, New York City’s most famous activist lesbian mom, has always come across as the most down to earth of the actors, and her non-involvement would make it impossible for the show to go on. (For the record, Chris Noth was also as noncommittal as Mr. Big.)
Sarah Jessica Parker, an actor I admire and will always have a deep affection for, seems unable or unwilling now let the character of Carrie go. When she came up to Toronto to open a Target store she wore a big season 3-style flower pin. She’s a professional Carrie now. It was only a matter of time before she started a show company.
Meanwhile, Nixon appears happy with doing the odd bit of theatre, the odd bit of TV. She told the press it would be okay if they let the series end. Now, seemingly out of nowhere, Nixon told the ‘Today Show’ she’d “absolutely” be on board for a third movie. (My question: who got to her? Was it Kim Cattrall?) I understand that working actors need money and movie studio pay cheques allow them to continue to pursue the life style they’ve become accustomed to, but there are bigger issues at stake. ‘Sex and the City’ is what the four lead actors will be remembered for, unless ‘Failure to Launch’, ‘Rampart’, ‘Cross Roads’ or ‘The Shaggy Dog’ become cult favourites. (Actually, ‘Cross Roads’ might be already.) They should let the beautiful series finale speak for itself. They should hang up their Manolos and call it a day. Lastly, they should consider how I feel, the lifelong fan who defend ‘SATC’ till his dying day, but wants to talk about Paris and Petrovsky and not camel toe sight gags. I hope one of the actors comes to her senses.
Miranda, I expected more from you.