"I'm Drunk, I'm Drunk at Vogue!"... (S4 E17 "A 'Vogue' Idea")

Summary

Podcast Summary: Are You A Charlotte? – "I'm Drunk, I'm Drunk at Vogue!" (S4 E17 "A 'Vogue' Idea")

Date: July 13, 2026
Host: Kristin Davis
Guest: Easton

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Episode Overview

In this lively episode, host Kristin Davis (aka Charlotte York from Sex and the City) is joined once again by her frequent co-host Easton, who returns after a stint with the Jonas Brothers' podcast. Together, they deep-dive into the iconic episode “A ‘Vogue’ Idea” from Sex and the City’s fourth season. The duo explores both the episode’s storylines and the juicy behind-the-scenes details, from celebrity encounters in first class to fashion influences and memorable cast moments. The main theme centers around the show's introduction of Vogue as a setting, character developments post-breakup, and how SATC dissected themes of female friendship and change.

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Key Discussion Points & Insights

1. Catching Up: Celebrity Sightings & Podcast Crossovers

• Easton has been touring with the Jonas Brothers, launching the "Hey Jonas" podcast (02:17).
• Kristin shares a first-class airplane story involving Nick Jonas and Priyanka Chopra, highlighting the surreal nature of celebrity travel and the kindness she observed (04:12–08:22).

2. Episode Context & Writer Spotlight

• “A ‘Vogue’ Idea” is the episode under discussion; both hosts highlight how it's special for introducing the world of Vogue and written by Alan Heinberg (09:52–10:39).
• Heinberg’s comic book background and unique perspective added depth to the show’s storytelling.

3. The Vogue Connection: Real vs. Fictional Fashion World

• The hosts reminisce about the longstanding relationship between SATC and Vogue, referencing real-life figures like Anna Wintour, Candice Bergen’s portrayal of fictional "Enid" (an Anna-esque editor), and cameos by fashion world luminaries (10:47–16:08).
  • Kristin: “I have seen her [Anna Wintour] be in an elevator and not talk to anyone… but that's not that crazy… She's allowed.” (13:12)
• They note how the show's depiction of Vogue predated movies like The Devil Wears Prada—SATC essentially paved the way for meta-fashion storytelling (11:38).

4. Behind-the-Scenes Anecdotes & Star Power

• Kristin tells how Chloe Malle, Candice Bergen’s daughter, is now editor of Vogue—a twist SATC presciently hinted at given her past appearance on the podcast (16:08–17:00).
• Inside info: Carrie’s new bob haircut resulted from severe hair breakage due to constant color changes for a campaign. The infamous haircut was a necessity, not a fashion statement (18:13–20:32).
  • “[Sarah Jessica] doesn't have a choice. We're in production, and her hair is just, like, breaking…” (18:38)

5. In-Depth Episode Breakdown

a. Carrie’s Vogue Adventure (26:21–35:20)

• Carrie’s storyline revolves around newly single independence, financial self-reliance, and her milestone writing gig at Vogue.
• Fashion talk: The significance of Carrie’s Mary Jane Manolo Blahniks, her Vivienne Westwood suits, and her cameo jewelry.
• Kristin and Easton praise the episode's direction by Martha Coolidge and the iconic New York "sea of people" opening.

b. Charlotte & Miranda: Friendship and Baby Showers (35:20–53:31)

• “I was really nervous that Charlotte was gonna mess up… I had a lot of anxiety watching it, and in the end, I was really pleased...” – Kristin (35:26)
• The juxtaposition of Miranda entering motherhood and Charlotte facing divorce is explored in depth, highlighting their friendship and emotional realism.
• Detailed breakdown of baby shower culture, era-specific baby gifts (the Whoozit toy, Diaper Genie), and the evolution of the show's baby-related scenes.
• The scene with Charlotte crying over the Tiffany rattle and Miranda comforting her is highlighted as a standout emotional moment.

c. Samantha & Richard: Threesome Shenanigans (54:45–57:31)

• “The fact that you even like [Richard] at all… he wants a threesome for his birthday… that is just fundamentally such an ick thing.” – Kristin (54:51)
• Despite the audacious plot, James Remar's "charm" as Richard and Samantha’s assertiveness are praised.
• The comedic relief of the disastrous threesome, especially when the third party calls Richard “Daddy,” grossing both main characters out, is celebrated for its unexpected resolution.

d. Carrie’s Relationship With Julian & Daddy Issues (58:11–63:31)

• Carrie’s nervousness and drunkenness at Vogue (after two martinis) is discussed, including her infamous line about being a size 2 and not eating breakfast (58:39).
• The “daddy issues” subplot is explored, connecting Carrie’s emotional arc to broader discussions about parental influence on relationships.
• Noted: Ron Rifkin, who plays Julian, once played Sarah Jessica Parker’s father Off-Broadway, underscoring SATC’s layered casting choices (60:07).
• Discussion of production tricks for old-family photos—sometimes actually using the actors’ family pictures and digital magic.

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Notable Quotes & Memorable Moments

• Kristin on Anna Wintour:
  “I've been in many a room with Anna. I'm always pretty scared. Okay. Pretty scared. But she is so warm and lovely to Sarah Jessica… I've never seen her be arbitrarily mean.” (12:06)
• On Carrie’s Haircut:
  “People are like, why did she get that haircut?... I was like, she – she doesn't have a choice… her hair is just, like, breaking…” (18:38)
• On SATC’s depiction of Vogue:
  “It's kind of the beginning of this, like, cooperation between Vogue and fictional tellings of Vogue.” (11:52)
• On Samantha’s Threesome Plot:
  “Is this the only time in history having a threesome helped a man commit? Usually, that's the lead to the end of the relationship.” – Easton (57:16)
• On Real-Life Magazine Culture:
  “For me, I would do my nails while I looked at the new Vogue… it was like a whole process. It was like a day, you know, it was fun in the olden days with, like, the paper magazines.” – Kristin (29:06)
• On Friendship:
  “It’s a really great way to show, you know, the differences of the characters, but also the love, the through line of the love.” – Kristin on Charlotte, Miranda & Carrie’s baby shower scene (41:14)
• On the Daddy Issues Dialogue:
  “My dad was home every night for dinner and I don’t understand men… so it’s a crapshoot.” (63:00 approx.)

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Timestamps for Key Segments

• 02:17 – Jonas Brothers story & Easton’s update
• 04:12–08:22 – Kristin’s airline story with Nick Jonas and Priyanka
• 09:52 – “A ‘Vogue’ Idea” episode introduction
• 10:47–16:08 – The SATC-Vogue connection & Candice Bergen as “Enid”
• 18:13–20:32 – The drama behind Carrie’s haircut
• 26:21 – Summary of Aidan/Carrie breakup timeline
• 28:44–35:20 – Carrie’s first days at Vogue; fashion deep-dive
• 35:20–53:31 – The Charlotte & Miranda baby shower storyline
• 54:45–57:31 – Samantha, Richard, and the disastrous threesome
• 58:11–63:31 – Carrie, Julian, and the “daddy issues” discussion
• 63:31–69:32 – Reflections on AI, behind-the-scenes moments, and wrap-up

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Tone & Takeaways

The episode delivers a warm, humorous, and deeply nostalgic exploration of one of SATC’s pivotal episodes. Kristin and Easton alternate between playful banter, frank behind-the-scenes revelations, and genuine appreciation for the writing and friendships at the show’s heart. For longtime fans and new listeners, the conversation offers both juicy nuggets (real-life Vogue stories, hair disasters, candid talk about motherhood and friendship) and thoughtful cultural commentary.

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Perfect for:

• Sex and the City fans
• Anyone fascinated by fashion/media crossovers
• Listeners interested in TV production secrets
• Fans of behind-the-scenes storytelling with wit and heart

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To hear more about Chloe Malle, check out the referenced earlier episode of Are You A Charlotte? with her guest appearance before she became editor of Vogue!

Transcript

[A]

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[B]

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[A]

Hi, I'm Kristen Davis and I want to know, are you a Charlotte? Guess what, you guys. Welcome back to Are you a Charlotte? Guess who's here today. Easton.

[B]

Hi. Thanks for having me back. Kristen. I'm so excited.

[A]

I'm so excited that you're back because Easton, you guys, this is a whole, whole thing. Easton has been stolen, okay? Away from me by the Jonas Brothers. Can I just share that with you? And please tell us, where have you been and what have you been doing?

[B]

Oh, man. Well, we launched a podcast here at iHeartRadio called the hey Jonas Podcast and It's been a lot of fun and I have had the pleasure of going on tour with them.

[A]

Crazy.

[B]

For the last month. So I've been to Buenos Aires, Argentina, Mexico City, Las Vegas. Wow. Sacramento. I was in London last week. It's been a wild ride. But it's been so much fun. The guys are so funny. The show is so much fun to listen to.

[A]

Oh, that's good.

[B]

And I think fans of this show will really like hey Jonas as well.

[A]

I can also. I want to tell you guys that I'm. I'm. We're in our, our studio, our little studio. And across from me is a huge drawing that says, hey, Jonas and has a, a figure and a bunny, an evil looking bunny and some signatures on it. So I'm basically looking at their set, which is very interesting, very different than mine. I'm like, wow, it's very trippy. And then also next door we have where Kate Hudson and Oliver Hudson, who we love so much, record their podcast. And now they're going to be doing it for Netflix. So there's a lot going on around here.

[B]

It's so funny. Do you remember when sometimes you watch those old movies and they go to like a movie set and there'd be like a guy in a night costume and then someone dressed as an alien and like an old west guy? Sometimes it feels like that around here.

[A]

I do feel like that. I do feel like that. It's a little bit of the studio lot. Yes. Because we've got all, everything smushed together.

[B]

Yeah.

[A]

So do you want to hear my Jonas story while we're here?

[B]

I would love to.

[A]

I don't know if I ever told you this. Might have told Hannah. So when Wilson, my son, was tiny, I got a job when. Or I'd been developing this script for Netflix about elephants and we were able to film this movie about elephants in South Africa and Zambia. So it was weird timing because Wilson was six months old, which is, you know, a little bit hard, but in some ways they're kind of easy to travel with. Right. Because they're like so little. You know, they're not loud and, you know, running around. Toddlers. They're like a tiny baby. So he's six months old and we're going off to South Africa.

[B]

Wow.

[A]

To film. And it's pretty exciting. I've got a, a baby nurse with me that I'm taking because it's going to be long hours. I'm in every scene of this movie. It's a movie based on my own experience with The Sheldrick foundation, the, sorry, the Sheldrick Trust in Kenya. But we weren't using their name. It was just inspired by them and my experience with them. So we go to get on, we have a fantastic plane. We're on the Emirates first class, which is like very, very dreamy. And Rob Lowe's with me, he's in the movie as well. And I' with my six month old and my night nurse and I have you. There's some of the first class cabin things. Have a little crib. I don't even know if that's the right word. Like a little cot that comes out of the wall.

[B]

Wow.

[A]

Yeah, like a Murphy bed. Almost. Very much like a Murphy bed for babies. Yes. So I've got my baby nurse and we're right next to each other with the, you know, little crib thingy happening, whatever you call it. Little like it's like a hammock basically for a baby. So this, this girl comes on, she's wearing a sweatshirt, she's really stressing out. She's standing in the first cabin just hemming and hawing like stressing. And she comes up to me and she says, you know, would it be okay? Could I move your seat? Could you move a seat? And I was like, oh, I, I can't really move the seat cuz I need this baby sling here to put my baby in. Cuz I'm really hoping he sleeps during this flight cuz I was so worried about him on this first class flight that cost like so much money to be up there. And so I had gone and gotten these Starbucks cards for everybody in the first class cabin because I thought they might really, really be mad at me because I didn't know what Wilson was going to do. Right. I had no idea. I had never flown with a six month old to South Africa, you know what I'm saying? So I didn't know. So I was really nervous and I didn't know why this girl needed me to change seats. But I explained why I couldn't. She said okay, but that she seemed quite nervous, quite nervous, quite nervous. So at the very last minute, everyone else in first class was bored and there were two empty seats at the very last minute. One of the Jonas brothers, who's married to Priyana and that would be Priyanka. Priyanka. Thank you. Priyanka. Who's she married to?

[B]

Nick Jonas.

[A]

Nick, okay. See this is very hard for me. I can't tell them apart. So Nick Jonas comes on with Priyanka and he sits behind Me. And she sits over to the side. And I was like, okay, I feel like this is a thing that I should know about, but I don't really know. And I'm really just focused on my six month old. Luckily, Wilson does great. Basically doesn't cry. I know. Thank God in heaven, right? Cause I was just like, what am I gonna do? I'm gonna die of embarrassment. He didn't. He didn't make a peep. It was awesome, right? So we land and I go to hand out my Starbucks cards. I'd already talked to Priyanka. She's adorable. She wanted to see the baby. She grabbed his cheeks and he smiled at her. And she was happy. She was adorable. I knew she was an actress, but I didn't. I wasn't sure which Jonas brother it was, but I knew it was somebody. But whatever. I was just handing out my cards to everyone, Right. And he was. And sweet, and he was like, you don't need to give me that. And I was like, no, no, I already got them for everyone. Enjoy. You know? And he was just like a sweet young man, you know? And I thought, that's so interesting that they are themselves.

[B]

Yes.

[A]

But yet adorable.

[B]

Yeah. They've been in the spotlight for such a long time.

[A]

Yeah.

[B]

And yet there's still these, like, these pure, adorable souls. So adorable.

[A]

I agree. That's how I felt. I mean, not that I had that much contact with them, but I was like, well, you would just never think that that guy is going to go get up on a stage and have squealing girls and whatever, you know?

[B]

I know exactly what you mean.

[A]

I'm glad if they're nice because you're running all around the world with them.

[B]

Oh, yeah, they've been. They're so nice. They're so fun to be with.

[A]

Good.

[B]

Having a blast. I have missed being here, though. I love being. You know, usually I'm sitting across the room here, but I have a front row seat to this show and we

[A]

love to have you. We really, really miss you when you're not here. So it's very special that not only are you back, you're actually going to break down a Vogue idea with me, which is a very, very good and interesting and important episode, don't you think?

[B]

Yes. Oh, absolutely. Yeah. When I saw that this was the episode I had been assigned, I was like, jackpot. I love this episode.

[A]

It's really good. And I really watched it, not remembering hardly any of it. I kind of remembered the kind of the broad strokes of Carrie's Storyline that she goes to the Vogue closet and finds the Manila Blahnik Mary Janes. Partly because when we went to Manila Oblonic last year with Kathy Ng from. And just like that, they gave me a re edition of the Mary Janes that I believe it was like the 30th anniversary or something.

[B]

Wow.

[A]

I know, I know. So I have a really beautiful pair that I feel like I shouldn't even wear. Like, they're so pristine and. But it's really pretty. They put a little pearl on the closure as like a special thing for the anniversary.

[B]

I love that. I love that detail.

[A]

I know. I know. So I have another new thing that I think of when I watch the episode, but I only really remembered just the broadest strokes. I did not remember my storyline at all.

[B]

Wow.

[A]

So I didn't know what was gonna happen. I was like, what? What. What is. Oh, Lord, Charlotte, what's gonna happen? So it was really enjoyable. But also the thing that's amazing, it was written by Alan Heinberg, who we love so much, and we're really hoping that he will come on the podcast.

[B]

Yes.

[A]

He's a very different element added to the show. He's the one who. His first episode was the one about the comic book writer, and Alan has a whole comic book thing and he's gone on to show run big shows that are based on comic books. And, you know, he's a. He's a big muckety muck now. I mean, he doesn't have time, but at some point we hope he comes on because he really was very different. And I think. I don't know how long he was with us. I want to say, like maybe two seasons or one and a half seasons. But, like, he really brought a different. A different take to this.

[B]

I. I'm. I'm curious. Like, there's such an intimate, like, understanding of Vogue in this episode.

[A]

Yeah.

[B]

And I wonder if, you know, he's a. He's a comic book guy.

[A]

Yeah. I don't know how he. The intimate understanding. I mean, we need to do some research about this because I do think that this is the beginning, as far as I know, of our relationship with Vogue. And we do have an ongoing relationship with Vogue. Remember, we have the Vogue shoot in the movie and Plum, Sykes and Andrew Andre, Leon Talley came for that film filming day. It was incredible. We knew them anyway, but it was adorable to have them. And I know that Anna read the film script and gave her thoughts, I think, to Michael Patrick. I want to say. Yeah. And it's possible that that happened with this, but. Because somehow we were able to have Candice Bergen play Anna.

[B]

Yeah.

[A]

Which is weird. It's obviously before the Devil Wears Prada, so, like, it's kind of the beginning of this, like, cooperation between Vogue and fictional tellings of Vogue.

[B]

Yes.

[A]

You know, it's.

[B]

Yeah, it's so interesting because now it's. It's become such a. Such a thing.

[A]

Yeah.

[B]

I was thinking about that, actually, watching Candace. I was like, you know, knowing it predates Devil Wears Prada. I was just wondering, you know, I'm like, how much of this is Anna?

[A]

I mean, I wonder, too. But I really liked what Candace did. I mean, of course I like what Meryl does as well. And Meryl has said very specifically that it's not Anna, that she has other inspirations that are men, because she. She's looking at power and how. How to portray power, which I think is really interesting. Obviously, Anna is very powerful. I've been in many a room with Anna. I'm always pretty scared. Okay. Pretty scared. But she is so warm and lovely to Sarah Jessica, and they have such a long and lovely relationship. So I just wait. I'm just there. Sarah's usually there, and I'm just waiting, and I'm just not sure what to do. And then Anna will turn and just be, like, lovely to me. And I'm like, this is just based on Sarah Jessica. And I'm so happy. I'm so happy. But, you know, sometimes when they say that she's just arbitrarily mean or whatever, I've never seen that. Never, never seen that. Never seen that. I have seen her be in a. In an elevator and not talk to anyone, you know, behind the shades.

[B]

But, I mean, who of us? Which of us?

[A]

But I mean, in an elevator of friends, I should say, in an elevator at an event, right. Where the other people are talking, because we're all going to the same event. Right. I have seen her just be like, no, I'm not. I'm not gonna make small talk or whatever. I've seen that. But that's not that crazy.

[B]

Yeah, yeah.

[A]

You know, that is what it is. And she's allowed.

[B]

She's allowed.

[A]

Of course. Yeah, yeah, yeah, yeah. But I know some other people that she's really nice to and warm to and smiles and, you know, does all the things that you don't think she does. But I loved what Candace did in our show because at one point, she just laughs at Carrie, which is really funny, you know, And Candace just has such a Way of, like, turning her phrasing. It's very interesting. And obviously Michael and Candace go way back to Murphy Brown, which was Michael's first big job, which he won an Emmy for writing for Murphy Brown starring Candace, which maybe you youngsters listening have not heard or seen. It's a great sitcom from the. I want to say, late 80s 90s.

[B]

Yeah, definitely in the 90s. In Seinfeld, Kramer gets a part on Murphy Brown.

[A]

No way.

[B]

In the show. Like, in the plot of the show.

[A]

What?

[B]

Yes, there's.

[A]

In Seinfeld.

[B]

In Seinfeld.

[A]

How could I have missed that?

[B]

Yeah. And Kramer moves to LA for, like, three episodes, and he gets a part on Murphy Brown. And Candace has a cameo, and it's very fun.

[A]

That's so funny. And good. Now let's. Let's finish our connection. So Candace plays Anna Wintour in our show, which is weird, but actually she's Enid, because do we call her Enid in here?

[B]

Yes, yes.

[A]

But then, remember when Carrie gets drunk and she's walking out and a blonde girl bumps into her and she says, tell me that wasn't Anna Wintour.

[B]

Oh, that's right.

[A]

Yeah. It was confusing. Right?

[B]

Yeah.

[A]

So maybe. I don't know if we actually. Do we actually say that Candace is Enid in this one, or is that later?

[B]

Might be later in this episode. They do call her Enid.

[A]

Oh, okay. Okay, okay.

[B]

And then I was wondering, like, this is the first time Carrie's written for Vogue. Like, would Anna, like, be this meeting with some. You know, like.

[A]

That's a good question.

[B]

But I think editor or something.

[A]

Probably, Probably. But the way she's built up and the way she's so negative.

[B]

Exactly.

[A]

And then. And the importance she has to carry. You know what I'm saying? But it's confusing. I need to rewatch it and think about that. But the thing that I wanted to make sure I connect to our readers, our listeners, whatever they are, is that we had the wonderful Chloe Malon, who is Candice Bergen's daughter, who is now the editor of Vogue. And the funny thing is that when we had her on, she was not the editor of Vogue yet. She was working at Vogue, and she had a title. I can't remember what it was, but she was doing their podcast, and so she was very much in it. And I remember I said to Sarah, I had texted Sarah, asking. Asking her a question about one of the outfits. I can't remember. Maybe the shorts. You know, the. The poor boy cap and the shorts.

[B]

Yes.

[A]

And I had said, you were having Chloe on, and, you know, what do you. Can you tell me about this outfit? Or whatever? And she said, oh, you know, Chloe's gonna be the editor of Vogue. And I was like, what is she. Because I'm not. I don't know, stuff like that. Jessica does. She was like, yeah, yeah, I think she's gonna get it. And I was like, wow. And she was right. She was right. And the day we were talking to Chloe, remember, we talked to her for a long time, and at a certain point, her phone buzzed, and she looked at it and she was like, oh, my God, Kristen, I'm so sorry. I've got to go. That was the day that Anna announced that she was stepping down.

[B]

Whoa.

[A]

It was really funny.

[B]

I didn't know that. I remember when she got the phone call.

[A]

Yeah, that's what it was. That's what it was. Yeah. The next day, we all learned that they had. They had called everybody up to the conference room or whatever.

[B]

Well, if you want to listen to a piece of fashion history, you go back and listen to. Are you Charlotte with Chloe?

[A]

That's true. That's true. It was before. Before she was editor. Now she's editor. But I don't think she's changed at all. Like, she's just so adorable and likable and such a good writer. And, you know, she's very. I don't think that you can ever kind of win in that situation where you're being compared to Anna Wintour. Right, of course. I think that's an unfair comparison, you know, and that she's doing a great, great job. Like, I think the COVID since she's been on have been great. Not that I'm an expert, but I think she's fantastic. All right, let's talk about this episode. So now. Now I've got questions about Enid, but that's okay. So basically, now this is one thing I'm going to have to ask Easton. I'm just going to be honest with everybody. We are watching out of order. I don't know why. I think it's based on guests. I'm not really sure, but. But I don't understand. Can you shortly tell me what happened with Aiden and Carrie? That they're broken up? Because Carrie says very quickly in the voiceover, the beginning, that. That she's. Big, big changes have happened. She's cut her hair, basically because there's been a breakup.

[B]

We see her in a bob at the beginning of the episode.

[A]

And is that the first time that we're seeing in the Bob.

[B]

I believe so.

[A]

Okay.

[B]

I believe that is the debut of

[A]

the Bob, but I feel like it. Yeah. I vaguely remember this whole Bob situation. There was a lot of stress. I'm just also want to be on the record. I think I'm allowed to say this. I should probably check, but Sarah Jessica's hair broke off because she had a contract with a hair color campaign. I'm not going to name it. And she had to color her hair every which way for, like, two solid years.

[B]

Oh, wow.

[A]

People are like, why did she get that haircut? And don't mention the haircut. It was horrible. And whatever different things they say to me about her hair, and I'm like, she. That she doesn't have a choice. We're in production, and her hair is just, like, breaking. You know what I mean? Because it wasn't a normal situation where you're coloring your hair. It was like, be brunette. No, be platinum. No, be a redhead. Like, it was literally like every single. Plus, you're at work every day getting your hair, you know, heated and styled and all the things. So it's not like anyone thought, like, oh, yes, we want to cut Sarah Jessica's hair. No, we just had to cut Sarah Jessica's hair. So Serge cut her hair. Serge Norman, her longtime hairstylist, who we all love so much. And I thought he did a great job. And then he had a job, I believe, with Julia Robertson, had to go. And this first day, when she is wearing that beautiful, beautiful suit and walking down the street with all the people, it's so good the way the episode opens. I believe that day, Serge couldn't be there. And he doesn't normally come. Well, he did end just like that, but back in the olden days, he was not on the set all day. He would just cut her hair in life. Right. But he was supposed to be there because everyone was so stressed about the haircut, he couldn't be there. And so Chris McMillan came, who we also know and love, and did her hair that day, which was really, really fun, because he's a fun, fun person. But I remember so much stress about the haircut.

[B]

Oh, wow.

[A]

Yeah.

[B]

I mean, I thought it looked great.

[A]

I mean, I think it looks great, too. But I also understand now that I'm looking at things more, you know, objectively. Her hair was so much a part of her, and her hair in the show, it's like a character. It changes, and it's so glamorous and beautiful. It does this and does that and so many different things. So to Cut it. I do understand that that was crazy, but I did. No one had a choice. No one wanted to cut it. You know, and I do think. I think Sarah Jessica, the last time it came up, she was like, yeah, I don't talk about the Bob. I was like, okay, I get it.

[B]

I get it.

[A]

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[A]

Okay, my Hyundai. Hot take. The opening of this episode is just phenomenal because I feel like in the past, we've used very sparingly because this is a. It's a very difficult thing for directors to film, right? Like Charles McDougall did it with Kyle and I when we're going to the Tiffany's window. But it's hard to do. You have to trust yourself and your DP and the crew and everybody and the actor, you know, because they're in a sea of people blocks away. Like, she's probably blocks away from where the camera was set up. Just, wow. Just trusting that she's in, you know? But the thing that was so great about it, it's such a strong, strong way to start. And it's kind of placing her in the bigger picture of New York, which is very, very, very much how you feel in New York. Like you're just one of all these millions of people trying to make it. You know what I mean? And she's got this new haircut and she's Wearing a suit. And it's her first day of work. And so she's kind of placing herself in. In the working force of New York in a different way than we're used to seeing her. And the visuals just are so powerful for it, but also have such a history, you know, like the movies that I just said off the top of my head when we started, like, there's so many. Like, I think there's Dairo and Taxi Driver. Like, there's so, so many iconic, iconic scenes in film of people walking down the street with all the. The hordes of people in New York. And this is what it is. And it almost looks like the 70s.

[B]

Yes.

[A]

And then she emerges in this fantastic suit with her haircut, and they have that cool shot of her back kind of like on the street, like when she's looking for the address for the door. You know what I mean? I don't know quite what she's doing. She's doing something interesting, something Carrie like. But yes, for sure. That could be our Hyundai hot take. For sure, because it's super strong. Very evocative. Right. That would be our Hyundai hot take. Celebrating iconic moments, bold moves and unforgettable style. Just like Hyundai.

[B]

So Carrie and Aiden break up. Not the last episode, the episode before episode 15. And she's not excited about wedding planning. He's getting frustrated that they're not moving that along. They get into the fight. Aiden walks through the hole in the wall. And then we find out through the voiceover at the end of the episode that Aiden has moved out and they're calling off their engagement. They have broken up.

[A]

Got it.

[B]

So that's where we are here at the beginning of episode 17.

[A]

So we're in the fallout, basically, of the breakup. And what she says in the voiceover of the beginning of this one is that she has a new mortgage, so she's figured out the apartment situation with the help of Charlotte, I guess. Which is really funny because in my mind also, I hadn't really remembered. I remember the scene around the table about the money, but I didn't remember that. I ended up giving her my ring afterwards. Yeah, I remember kind of the argument, but I didn't remember that. I do take it and say, like, yeah, what else? What else am I going to do with this? Like, let me help you. You know, which is adorable. So she goes and gets a job at Vogue in addition to her column, so that she's making more money because we've had this whole, like, Carrie's fiscal irresponsibility. Storyline going on all season. Right. That's how come she goes to Vogue. And that's what we start the episode with. And I just want to say also that this episode is directed by Martha Coolidge, who's a lovely, lovely woman who I totally had forgotten about. And I don't mean that in a bad way, but, like, she's not one of the directors that is, like, showy that we think of. You know what I'm saying? But this episode is so beautifully directed, I thought.

[B]

Yes, I know.

[A]

Like, everyone's really comfortable. It's. It's a beautifully shot. The camera moves are beautiful, but not distracting. I love any director who shoots with, like, a gaggle of regular people walking down the street.

[B]

Yes, yes.

[A]

Which is fun. It's so reminiscent of, say, Tootsie. And what's the one that Sybil shepherd is in? The Last Picture Show? And, you know, so many old, old movies for all you young people, but great movies. So I love that. And I think that she did a really, really good job directing this. So what did you think at the very beginning? I mean, obviously you've seen it many times, but what did you think about Carrie working at Vogue?

[B]

I thought it was exciting. I feel like her column obviously doesn't exist in the real. Like, Carrie Bradshaw is not a real person, you know, but, you know, it's. I know. It's like.

[A]

It's complicated.

[B]

It's complicated. It's complicated. But, like, seeing her work at a real magazine is exciting and it's really interesting.

[A]

And it's not just a magazine. It's Vogue. It's, like, for all of us now. It is interesting because now I don't know what it means to people. You know, it's like things are changing, but certainly to our generation, it really was the bible in so many ways. It was so lofty, like, desirable. And, you know, you just waited to get the new Vogue and you took it home right away. And for me, I would do my nails while I looked at the new Vogue. Because it took that long, right? You just, like, look at it. Then you'd have to go back through it. Then you have to pick what you were gonna read, and then you would go back to the pictures you like. You know, it was like a whole process. It was like a day, you know, it was fun. It was fun in the olden days with, like, the paper magazines. People don't even really realize that now.

[B]

Yeah.

[A]

But I do think it still has a lot of meaning.

[B]

Absolutely.

[A]

Right. Like, who's on the COVID of Vogue. And I think they've done a good job, like we were saying with Chloe Mal, where they've diversified enough, where there's the podcast and there's visuals and there's videos that go with the photo shoots now. And like, all those things I think are helping it stay relevant.

[B]

Yes, it, it's fun because it's. It's still such a big fixture in fashion, but then also you can see like an interviewer, Dua Lipa is playing ping pong and answering questions at the same time or something.

[A]

That's so cool. Absolutely. They've done that well, I think. Don't you think? Yeah, I think. Yeah, I really do think they've done that well. And I do think also, like, Gracie Abrams is on the COVID right now and. Yes, that's a big deal. That's a big deal. Your first Vogue cover. And also I love them because they've just been so great. Sarah Jessica, she's done the most amazing covers and stories and they dress her up in like ball gowns and whatever, so. And that would have, I think, already happened in life, right?

[B]

Yes.

[A]

And then, so her relationship with Vogue is kind of happening, like in real life, but then also on the show, which is interesting. And then we incorporate them in the movie when they come and do Carrie Bradshaw's wedding thing. It's cool. I love the crossover kind of weirdness of it all.

[B]

Yes, me too.

[A]

Yeah, so go ahead. They. They come, we go to Vogue. Ron Rifkin is there. He's playing Julian. That's his name. We love Ron Rifkin so much. I remember this whole thing was like, you know, none of us get to go to Vogue. Right. It's very much Carrie's, Carrie's world. But we were so jealous. Like, we were like, how did it go? How was everyone? What was it like? And there were all those extras. Do you remember? There's like so many people who work there. It's a whole, whole other thing that started up, you know, it was like a big, A big deal on the, you know.

[B]

So that was the real office they filmed at or.

[A]

No, no, no, I don't think it was. I would have to double check that. But I don't think it was. I. Oh, it could have been. I was gonna say, I've been to the Vogue office. It doesn't look like that, but that's because it's that down at that one Conde Nast.

[B]

Oh, yeah.

[A]

Way downtown. And we were just there when we were promoting and just like that, we were. There's Like a floor for Vogue. A floor for, I don't know, all their different. What was their other one? Cosmopolitan or something. We went. You had to, like, go up and down to different floors to do different things for different, you know, press opportunities or whatever. It was kind of kooky. I can't even remember their other condensed magazines. But I guess this would have been before that. So it could have been their real. But it would have been very hard for them to function and have us there filming.

[B]

Yeah.

[A]

And I also felt like, the short little tracking shots that they did have of Carrie and Enid and Julian, Ron Rifkin's character, they're not that long. They're pretty short shots. I think it's because they just had a little area that they dressed up in offices. That's what I thought when I watched it. I also think there were too many people there.

[B]

Yeah.

[A]

I mean, they're trying to make it look really busy. I totally get it. I don't. I've never seen a magazine with that many people, like, crushed into that area. You know what I mean? Yeah. I could be wrong. I could be wrong. We could ask Michael.

[B]

Patrick, I loved there's. I mean, this episode. There's so many, like, fashion things that jumped out at me. But I love Carrie's cameo.

[A]

It's good, right?

[B]

So good. She wears a different one later in the episode. I know.

[A]

I know. The thing that I think when I look at it, which is kind of funny. Sarah Jessica always loved cameos, and I grew up with cameos. There's cameos that have been handed down in my family that are less beautiful and large and whatever. But there was a cameo. The first cameo storyline that I'm aware of in the show is when I get married, I wear a cameo. And there had been a storyline that ended up getting cut. And I believe it was, you know, you're something old, you're something blue, you're. Blah, blah, blah. I think the cameo was supposed to be something blue that Trey wanted me to wear or Bunny wanted me to wear, but I hated it. So they went and they got these cameos, but they were beautiful. And then I string one on a chain like, it wasn't so. Because that's what I was like, how do you wear a cameo on your wedding? Like, where do you put it? You know, you can't, like, pin it to your dress. That would be bad. Like, I remember there was a drama about it. And then I remember Sarah Jessica saying, like, you know, get this kind. Don't get that Kind like she was knowledgeable about cameos, which, of course, you know. Of course she is. And I end up with that beautiful one, which I think I have at home, actually. And then we had to cut the dramatic part of that storyline because it wasn't ugly. Like, why would Charlotte not love it? Like, it was weird. Do you know what I mean?

[B]

Yeah.

[A]

So we cut that section. Yeah. And then I think she was like, yeah, I want to wear a cameo. But then, of course, they're are so special. They're unusual cameos like Carrie would have, you know? But I love that whole. I believe it's a Vivienne Westwood suit. That suit is so gorgeous. Everything about. You know, and. And also at the end, she was another different suit. That's gorgeous. I love Carrie in the suits because we usually don't get to see that. So it's fun.

[B]

Yeah.

[A]

I love the whole thing. It's a whole departure. Really fun to watch. Cut to Charlotte and Miranda. I didn't remember one single bit of this, so it was really, really interesting for me to watch because I was really nervous that Charlotte was gonna mess up the whole time. I'm like, charlotte's gonna cry. Charlotte's gonna get baby things. Charlotte's not gonna listen to Miranda. I had a lot of anxiety watching it, and in the end, I was really pleased with it, but I was like, oh, God.

[B]

Oh, God.

[A]

Jesus, what's gonna happen? I didn't remember one bit, which is weird. Okay. Isn't that weird?

[B]

Yes.

[A]

I don't know why. I remember some things and then I don't remember other things. But then when I cut. When I'm in that outfit, that weird bustier with that blue skirt with, like, paintings on it, I remember that outfit because that outfit lives on Instagram. People will choose it for their favorite outfits. It's bizarre, right? It's also, like, what was Pat taking that week? Like, what am I wearing? It's some fairy tale princess outfit. I don't know. And I think I own it. But also, I thought I wore it in the movie. Like, I thought that was like, later I was like, what? Am I wearing that now? Oh, my God. But anyway, that's. That's. That's how my memory is at this point. It's very patchy. Very, very patchy. So I really love this one because Miranda's very pregnant now.

[B]

Yes.

[A]

And Charlotte is obviously not. And not only is she not pregnant, she is now getting divorced. So it's a great juxtaposition of the two storylines and how they play on each other. And I love any time that they allow me to have a scene with Cynthia, which now we've got to have a couple. It's so exciting, right? It's so exciting. So that was really good. And I, and I, it. Love, loved the writing. And so basically we're at the coffee shop and Miranda comes in and she's all flustered because she apparently has to buy a stroller. You know, she's so funny. And Miranda. And now that I've had children myself, I can tell you it is a full time job. You don't know what the heck to buy. You have to do a lot of research. So this was right on. Like, whoever we were getting baby advice from was right on it. None of our writers are pregnant at this point. Right. So, like, we're having to, you know, stretch our, our understanding to get these baby storylines going. But we did good because this is totally accurate.

[B]

Okay, good.

[A]

You don't know what to buy. And everyone has opinions. And there are these places that they send you, which are just literally, you could just be locked in there for a week and never find your way out. You know, there's like just a myriad of things to choose from. So Charlotte very rightly says to Miranda, well, remember how you didn't want to have a baby shower? If you'd had a baby shower, everyone would be giving you this stuff. And she's like, but I don't want to have a baby shower because everyone opens presents. And Carrie and Samantha are like, oh, yeah, we don't want to go to baby shower. Which I totally understand also. Right. And also we have the history in the show of the baby shower, which you know, is a hysterical but also very relatable storyline. So Charlotte very rightly says, miranda, you need to have a baby shower so people will give you these things. And then they hem and haw about it. Miranda doesn't want to do it. And Miranda doesn't want anything baby or anything stork. And she doesn't want sandwiches with the crust cut off. She wants fried chicken. And she makes. Charlotte promised her that she will not do any of the typical baby shower things. And Charlotte promises. And I had a lot of anxiety because I was like, Charlotte's not gonna be able to do this. Oh, no. And then it was fun to watch how it all went down.

[B]

Yeah, it came together beautifully, I thought. And it's just, I love watching because I too, had anxiety about Charlotte, like, not being able to help herself in this situation.

[A]

But.

[B]

Yeah, but I just, I. I just Love seeing Charlotte is such a good friend and cares so much about her friends. And I. I just like watching that.

[A]

Me too. Me too. And also, like, when she does call her work with the quote, emergency.

[B]

Yeah.

[A]

And then the emergency is that she's at the baby store and she needs items. Items for the registry. Very Charlotte. And she's got all the baby toys. I remember all those baby toys. And I was like, what are these things? Because I didn't know nothing about babies at that point. I was like, what? It's a what? But they were that. The. Who's it? The what's it. Whatever it's called. These were very much of the time. Like, every. Like, there are certain gifts for baby showers that are in, like. Like a fad. And when people have babies, like, every baby shower you go to, there'll be certain things and then they'll pass. They'll. Then they'll be over, and people will be like, a what? What? It'll be. It'll be done. Like, when I. My first daughter came, I. These swaddles were everywhere. And I think they still are, but I don't think they're the thing now. Like, I think there's other things. I'm not sure.

[B]

Yeah, I'm trying. There's something. Oh, God, I don't have kids, but I. So many of my friends do. And there's. There's something. I. I keep seeing people saying, like, oh, you have to get this. I'm trying to remember what it is now. It has a brand name, maybe. I can't remember if it's like a diaper cleaner or something.

[A]

Or the Diaper Genie.

[B]

Diaper Genie, Yes.

[A]

Yeah.

[B]

Everyone's talking about how much. How great the Diaper Genie is.

[A]

I was like, that's hysterical. That thing's been around forever. Okay.

[B]

Yeah.

[A]

But I would say that it is great. I have had many, many. I. I tell you many. Because at one point we had our apartment in New York still. And you'd be like, oh, my God. Because diaper. It's a situation. You gotta. You gotta have the easy disposal for the diapers. You don't want to deal with that. But then the thing that the girls get to bring, the funny part of the whole baby situation is that at the baby shower, when Charlotte does finally throw it, Samantha and Carrie bring this nightmare baby gift, which is so funny because they basically ask somebody. I guess they ask Charlotte, and Charlotte tells them, and they bring a thing that's made of diapers.

[B]

Giant cake made of diapers.

[A]

Yeah.

[B]

It's Weird.

[A]

It's very weird.

[B]

Weird.

[A]

But they feel very proud of themselves. And then Miranda's not that happy. So it was kind of funny. But, yeah, I think it's a really great way to show, you know, the differences of the characters, but also the love, the through line of the love. You know, like that scene that I have with Miranda. So we're at the baby shower. All the lawyers have come. We don't know these lawyers, but I'm so glad that they're good friends of Miranda's. And they came, right? And we're all there. I was like, who's gonna come to the baby shower? And I was like, wow, there's a lot of people. People there are fantastic.

[B]

She works in offices next to people. I know.

[A]

It's great. It's great. And one of them brings an actual baby, which is interesting, like a. Like a toddlerish type baby. And at one point, they. They. One of our producers, Grace Naughton, is. Plays the part who gives Miranda the. The Tiffany thing. Yeah. Which was funny. I was like, oh, there's Grace, our producer. How funny. And then Miranda opens the Tiffany thing. And it's, of course, exactly the same one that Trey had given Charlotte. And then Charlotte just, like, cries. And I was like, oh, Lord, Man, I must have been stressing about that. I mean, anytime the writers write like, you know, that you just like. I'm like, oh, Lord. But I thought it was okay.

[B]

But I was like, it's a very good cry.

[A]

Was it? I thought, okay, thank you. Okay, thank you.

[B]

I'm glad you pointed out that it was the producer who gave her the rattle. Because there. When I came. If it's right before she opens it or right after, they hold on that woman for a little bit, and I'm. I'm watching it going, am I supposed to know who that is?

[A]

That is so, so true. I noticed that as well. They hold on her longer than they hold on the woman who has the baby.

[B]

Yes.

[A]

Who has a line or two and hands the baby to me. To Carrie, actually hands the baby in our general direction and Carrie takes him. But, yes, they did. They really. They had a single set up in Grace. And they held it there long enough for me to go like, oh, my God, there's Grace. Wow. I don't remember that she was in this episode. Oh, my God, there she is. And then it was over. It was like a pretty long. Pretty long. You're absolutely right. That's funny.

[B]

But, yeah, you know, I never. I never want to see you in emotional turmoil. But this is the point of, you know, drama and everything. It was. Yeah, great, great cry.

[A]

Thank you.

[B]

My heart ached for you. For. For. For Charlotte. And then seeing her and. And Carrie come together. And after the. The child whizzes on.

[A]

Right on.

[B]

Carrie. A nice moment at the end of that scene.

[A]

Yeah, I liked it a lot. I liked it a lot. So Charlotte runs off to her bedroom. I'm sure you'll all remember. I didn't remember one tiny bit of this. Not really. One tiny bit of it. No. No. Nope. Nothing. Nothing. Nothing. No. I'm trying to think. I remember, like, when we cut to the scene in the baby store. I remember filming in the baby store.

[B]

How interesting.

[A]

And I remember because I had to say the who's it? Or the what's it? And whatever. And I didn't know anything about these things. Right. And so people were having to explain. I think Travis, our prop guy, was having to explain to me, like, this is the who's it? And this is the blah, blah, blah. And I had to be, like, trying to get those lines right when I didn't really know what I was talking about, which is always hard. And I was by myself in a store and I had to do prop. And the phone. I remember some drama between the phone. And then I think Miranda hangs up on me. And then I have to go get my phone and look at it because I'd been on speakerphone, I guess. I think there was some drama about, like, how I was gonna. Because they wanted me to, like, play with the toys.

[B]

Oh, yes.

[A]

But then I was. Had the phone as well, so I remember some stress about that. And generally speaking, I hate to act by myself. I do not want to act by myself. Some people are really great at it. You know what I mean? And they don't care, you know, like, for instance, Sarah Jessica Parker, like, her stuff in her apartment. Some of my most favorite stuff ever. She's just so incredibly good and interesting and somehow dynamic. And there's something great about acting on camera by yourself because you create this kind of private space, but also the crew is there, but you feel very supported by the crew. Whereas when you're on stage by yourself, it's just terrifying. It's just generally terrifying, right? And like, soliloquies, you know, or monologues on a stage by yourself, which I have done, but I. I still remember them because they're terrifying because you can't. The thing that you learn in acting is to put your focus on the other person. And that's how come you're not nervous, right? Because you are focused on the other person and you want something from the other person. So that naturally puts your focus on the other person and off yourself, which is great. But when there's no other person there, what are you gonna do? Do you know what I mean? You're gonna be focused back on yourself, and it's gonna be scary. Now, that's not true for all actors, but for me, really, really true. So whenever I see myself on the phone or whatever, I'm like, oh, Lord. I know I'm nervous. I know I'm nervous with the phone

[B]

conversation or the phone scenes. Do I apologize if this seems like a dumb question, but, like, is there a someone else, like, on the other end of the phone? Like, do they have, like. Is there a director saying it or.

[A]

So this is what they do now. I was just in Toronto working. I can't say too much, but I can say I had a phone call and the other actress was on the other line.

[B]

Wow.

[A]

And it was fantastic. She was in the hair and makeup trailer. She wasn't far away, but she wasn't on set. But she was actually on the phone, which was amazing. I'd never had that happen before.

[B]

Really?

[A]

Because in Sex and the City and in Just like that, we would make a really big effort. It didn't always work, but we would make a really big effort that the other actor would be there for you.

[B]

Okay.

[A]

Because we, you know, that's just how we rolled. And that's what Michael Patrick wanted. Because especially, like, our scenes are very, you know, we have to have. I'm snapping my fingers, everyone, if you can't see me. You know, it's like, bop, bop, bop, bop, bop, bop, bop. Right. And we also know each other so well. But also, you might shift or change. And oftentimes, I don't know if you realize this, but there's arguments that happen on the phone. Yeah, Right. So if we had an argument on the phone, whoever it was would come. And if we were in the studio, in one of our apartments, the actor would be on the other side of the set, right? Like the other side of the wall. You know what I mean? So you could hear their voice, but you couldn't see them. Now, in the case that the actor couldn't be there, which could happen right then, our script supervisor, or our first ad, depending on the situation. We had this one first ad, Betty Ann, who really was like, a big personality. I don't know how to put it, but she might be reading because she'd have this. She'd be nearby anyway, and she'd have the script. But technically speaking, it should be your script supervisor. And I was just thinking about. We had this incredible script supervisor, Jen Getzinger, as her name, and she's now a big director, and she would read it, which was great. Like, some script supervisors can be very flat because their job is just to sit and take notes and do continuity. It's a very kind of a nerdy job. It's like a. They take all these notes and dialogue, like, write things all over the script, you know, and have to keep track of everything. It's not like, yes, I want to be reading lines with people. Job. Right.

[B]

Yeah, yeah, exactly.

[A]

But oftentimes that is something that they would have to do. But they're never loud enough. You're always like, what? You know, I always wondered if, like,

[B]

you had to do it. The part of me is like, oh, God, you just have to do it alone with nothing and just visualize it.

[A]

No, no, that would be very hard.

[B]

Or then I also picture just, like, you know, some, like, gruff guy just on the other side of the camera going like, no, Charlotte, get me the. Get the.

[A]

It's not quite like that. It's not quite like that. I mean, I think for timing, it's very helpful to just have the other lines right. So I think for timing. Now, the. The truth is, between a script supervisor and the other actor, there's going to be huge difference in timing and intonation, obviously, but it's enough to just have, like, a placeholder that you're hearing the other side. Because if you're having a conversation in your mind or whatever, it's very hard to just, like, imagine the other people talk. You know what I'm saying? It's hard. It's hard. I mean, they're hard anyway, right? But I. I always think they work really well. The thing that I think is interesting to think about now is how much we FaceTime people. And FaceTime is hard in shows. And I know some shows do it and some shows don't. It's really interesting. I don't know. I don't really know if it works. Totally. Do you know what I mean? It's weird.

[B]

Yeah.

[A]

It.

[B]

Part of me, on a technical level, I'm always like, is it easier to do because you can just, like, film everyone, you know? Like, you can, like, like, do it in post or whatever, but if you're doing like a real FaceTime.

[A]

Well, the thing that's really hard. I don't think you Ever do a real FaceTime? You have the camera, the. The phone has, like, a special special effect. Basically. You usually have a phone guy come.

[B]

Okay.

[A]

You know, you have, like, a phone technician and they come and they have to, like, pause it or play it back or do this or do that. And then they put a special screen up for special effects that has, like, marks on it.

[B]

Oh, okay.

[A]

You know, so they can put something on it, but it's not. So you're never really doing it. Doing it. Right. And if you're not really doing it in. In real time, where you're looking at the person and look, maybe somebody does. I don't know. This is all new technology, which we're all trying to figure out what the heck to do with in a show. Right. But Michael Patrick was like, no, FaceTime doesn't work. I was like, okay, fine. We won't FaceTime. We won't FaceTime. Anyway. Let's go back to the show. Let's go back to the show. Back in, like. What year is this now? 2001. 2002. Okay. So did we. We didn't. So the thing that's really sweet. At the end of the show, which I don't know if we totally said so, we're at the shower, the lawyers are there. Charlotte sees this Tiffany baby. What is it? What do you call that?

[B]

Rattle.

[A]

Rattle. Thank you so much. The baby rattle. Very old school. And. Well, one thing I should say is that when Miranda does come, because at one point, Miranda. Charlotte's like, you better come. Which totally makes sense. Miranda does come. She's not dressed properly, but that's okay.

[B]

Yeah.

[A]

And Charlotte luckily got her the fried chicken. Thank God. I was like, go, Charlotte. This is so good. I was really worried. So then at the end, she has her little breakdown during the opening of the presents. And then she goes to her bedroom, puts a pillow over her head. And then Miranda comes in and is like, no, you have to leave. Leave the bedroom, because there's 20 people out there and you threw the shower. And then they have this lovely scene where Miranda is very motherly to Charlotte, which is so helpful because Miranda, the whole episode has been stressing that she doesn't have maternal instincts.

[B]

Yes.

[A]

Which makes so much sense. And as an audience member, I was also stressed, but also I struggle between Cynthia and Miranda. Right. Cynthia already had a baby when we ever met her. You know what I mean?

[B]

Yeah.

[A]

And now in life, I think, no, she doesn't have two yet. She's going to have two. Do you know what I Mean, but, like, she's very maternal. But Miranda's not so maternal, you know? So it is really interesting to look at. And I love the writing because it's a very real thing that you might get pregnant and you might want to have a baby, but you also might be really deeply worried that you're not going to be good at it.

[B]

Yeah. You know, I mean. Yeah, I get it completely.

[A]

Me, too. And I love the scene where she, Miranda, goes to Carrie's and sits on the stoop with her. It's a really, really good scene as their scenes are always just so fantastic. But they didn't even mention that in our little story, Breakdown, which is funny. It's such a great scene.

[B]

Yeah, I love it, too. And I love when the couple walks by and they're like, second date.

[A]

And she's like, I hate them. It's so cute and so good. The writing is so, so great. And it's so good because also, I think they made me laugh out loud. And I can't remember what they said that made me laugh out loud, but something. It was just a really great scene. I think that it would be so interesting. I don't know who has time to do this, but if someone has time to take, like, maybe one scene from each season of Carrie, Miranda, and just string them together, just the two of them scenes. Right. Like, remember way back early when we think Carrie's going to see Big? She called someone in the phone booth, but it's Miranda sitting there, so adorable, you know? And Miranda's always so direct with her. Like, I love the scene. I was talking to Sin the other day and she said, oh, have you seen the part where we go shoe shopping? And I tell her, you know why she doesn't have any money? And I'm like, yes, it's so great. That scene is so great. Like, there's just things that I didn't remember that stand out to me now rewatching it, where the through line of them is just excellent, excellent, excellent. You know, it would be really fun to see, especially if you took them from the beginning of the show through the movies through and just. Like that. Yes, that would be fun.

[B]

I love it.

[A]

We should do it.

[B]

I think we can do that.

[A]

That would be a special episode. We could. We could just look at them.

[B]

Yeah, I know.

[A]

But then, like, how would we release? We should show the people. I don't know how to do that.

[B]

It.

[A]

Okay, we'll figure it out. Yeah, I. I think it's really interesting because I just think the Writing is just so wonderful when it's the two of them, because of their differences, but also their love, but also the way their wit, you know, each one's sense of humor plays against each other. It's very interesting.

[B]

Yeah, it's so good. So fun to watch.

[A]

I agree. So good to watch. So it's nice by the end because basically Charlotte has had this little emotional thing, but also done her best to be a good friend of Miranda. Miranda then comes and tries to be her best friend to Charlotte and is very sweet to her and basically says, I can't do this without you. Yeah, she's adorable. So adorable. So I loved that whole storyline. Didn't remember one little bit of it. Really, really enjoyed it. So that was good. And then. Oh, my God, let's talk about Samantha, because.

[B]

Yes.

[A]

James Remar. Wow. He's so good.

[B]

So good.

[A]

The fact that you even like him at all. And some of the things he does in this episode, he wants to have a threesome for his birthday with this beautiful blonde hostess girl from this restaurant. And that is just fundamentally such an ick thing.

[B]

He's such an ick thing.

[A]

Such an egg thing. And somehow he says it was such charm.

[B]

Yeah.

[A]

Do you know what I mean? Such charm. And then poor Samantha, who really would like to just be, you know, in a serious relationship with him, but it's scared to say it. We know from these past episodes where she said she loved him on ecstasy. And then she was like, I'm sorry I said that. And he's like, that's okay. You're on ecstasy. But then she really does want to say it. It's so sweet. And then they're at. There she's trying to get him to say what he wants for his birthday, and he's like, nothing, nothing, nothing. And then the. This flirtatious hostess comes, and he's like, well, you know, now I know what I want. And so Samantha has to play it off like, oh, yes, of course. Sure. That's fine with me. You know, she has her whole Samantha thing. And then I didn't remember this either. I was like, what's gonna happen? I don't remember this. How could I not remember this? So this girl shows up and, you know, I. I like what they do in that. They really twist it.

[B]

Yeah.

[A]

Like, Samantha's gonna, like, take charge and tell her, like, no kissing Richard on the left lips. I own his lips. And the girl is like, okay. And then the girl takes her top down. The Samantha takes her top down. You know, like, one upmanship or whatever. And then luckily, when we get to the sex part of it all or whatever, this girl calls Richard Daddy, which is so gross. Okay. Fundamentally gross. And luckily, both Samantha and Richard are grossed out by it. Thank God in heaven. And then he's like, get rid of our. And then she pushes her off the bed for the second time. All very, very enjoyable. Very, very, very enjoyable. I really liked it.

[B]

There's a lot not to like about Richard, but I. I did enjoy this. And, like, when he says, I want the threesome for my birthday, I was like, oh, great. Like, you know, this is, like, such a thing. But seeing how he reacted to being called daddy was enjoyable.

[A]

Thank God. Right? Thank God. Because you don't know. You don't know what's gonna happen.

[B]

Yeah. I was like, oh, guys, he's gonna be into this.

[A]

Totally.

[B]

But gross.

[A]

That would have been horrible. Oh. Oh. But also, it really makes me like Samantha. Like, I like the way she is in the whole thing.

[B]

Yes. I had written down. Is this the only time in history having a threesome? Help domain, commit usually.

[A]

That's a good point.

[B]

Lead to the end of the relationship.

[A]

Yeah. That's a really nice ending, isn't it?

[B]

Yeah.

[A]

I mean, because we know that's what Samantha wants, right? I mean, it's not. It's not. I didn't feel like, as an audience, like, yeah, yeah, they're gonna work out. I didn't feel that.

[B]

Yeah, yeah.

[A]

But I want Samantha to get what she wants.

[B]

Yes.

[A]

Which is him or whatever. And also not to have to play these stupid games. Like, that must be a relief, you know? But he's very, very likable that he could even do any of this stuff and have us like him at all. You know what I mean? That's what I thought. And then he's just very sweet with her. Like, he's very simple with her, you know? Yeah, he's good. He's very good. What did we not cover?

[B]

We should talk a little bit more about Carrie and Julian and what happens with them.

[A]

Oh, yeah, I left that out. Yeah, yeah, yeah. Let's go back to Carrie. Carrie's got a very big storyline. It's super fascinating.

[B]

Yes. Carrie gets drunk at the Vogue office after being supplied with martinis from Julian.

[A]

It's true. I thought it was a bit of a stretch that, you know. And I mean, I hope this doesn't sound really mean, but I do know Candace. Right. So I do feel like this might be based on something real.

[B]

Oh, interesting.

[A]

I. That's what went through My mind. But I also do know Sarah Jessica. Right. So it's also just kind of. Of. It's, like, hard to understand. Exactly. Like, she. She has two martinis or whatever, and he does at one point say, like, how could you be drunk off two martinis? And she says, I didn't eat breakfast and I'm a size 2. Which is only somewhat true. I'm pretty sure she's a size 0, but. Okay. And, you know. And obviously she's saying she's a lightweight, which also kind of doesn't track with Carrie, who's always drinking Cosmos. Like, it's interesting. You know what I mean? But I think that the. I. I get the idea that, like, she's. She's there. It's a formal setting. She's used to just doing whatever she wants in her life. Right. Because she works from home. She, you know, writes and smokes and drinks and chats and wanders around her apartment. Right. So I get that this is, like, a formal setting where she might mess up or whatever and then be really worried about it. That part I kind of get. But it just seemed a little hard. Like, the. The level of which Carrie's supposed to be drunk. You know what I mean? Was a little bit like, whoa, okay. Wow. But she's funny. She's really funny doing it.

[B]

It is very funny. But she's also kind of like, you know, she's like, hiccuping.

[A]

She's hiccuping. Exactly. She's got. She's got, like. When she does her big, like, you know, arms and whatever, she's so adorable. She's so funny when she does, like, bigger things. I always really enjoy that.

[B]

And you brought this up before we started recording, but we should point out that Sarah Jessica played Ron Rifkin's daughter in the Off Broadway production of the Substance of Fire.

[A]

Oh, my God. Which I saw. I forgot. It's written by John Robin Bates. Yes. Oh, my God. You guys, do you realize who John Robin Bates is? Because he is a trip. He's a lovely guy. He wrote the Substance of Fire, which was a big hit. Oh, yes, that's right. And then he wrote Brothers and Sisters.

[B]

Oh, yeah.

[A]

Rob Lowe was in it. Sally Field was in it. Matthew Reese was in it. Calista Flockhard was in it. There's more. But, like, amazing, right then. Now he's writing. All's Fair. Wow. What a career, right? I mean, what a trippy, trippy development of all of it.

[B]

Wow.

[A]

I know, I know. And I think he wrote something that maybe John Benjamin Hickey is gonna direct on Broadway. There's some other things happening. I saw his name somewhere and I was like, oh, it all comes together. But, yes, that's right. It was the Substance of Fire, which was great.

[B]

Yes.

[A]

And Ron Rivkin plays Sarah's dad in that 1991. Not only. What. Oh, my God.

[B]

So a. 11 years before this episode aired.

[A]

Wow.

[B]

And, you know, there's that through line of this episode of Richard not being, like, being called Daddy. Carrie talks about her father issues. Oh, my God.

[A]

Thank you for bringing that up. Okay. Someone who came on it might have been Simon Curtis. I, at one point, had said something about Michael Patrick saying that he didn't want to have the backstory of all of our family situations. Right. That he felt very strongly. Right. Which is, of course, totally true. And he had talked about one time that Carrie had opened her drawer and there had been a picture of her father. And then. Then she closed it and they had cut that out, I believe. Or something. Something. Or maybe there was supposed to be another reference to it or a conversation about it or something like that, but this whole episode, it shows up all of a sudden, and it's so good, because is basically Ron Rifkin's character, who does seem very fatherly at first, right. He says something to her, like, what's your situation with your father? And she was like, well, you know, what? What did your father think of the article? That's what he says. And she goes, well, I don't really know, because he left us a long time ago. And he goes, oh, well, how did you feel? And she was like, well, I don't know. I was five. And he goes, well, don't you think you have some daddy issues or something like that? And she was like, oh, you know, oh, brother, you know, whatever. And he's like, sorry, I've been an analysis for a long time. And then later on, it comes back up and she's writing in her column, basically something. Do we have it in our notes? Basically something to the effect of. Is it. She asked Miranda, I think, is it that simple? That because I didn't have a great relationship with my father, that I'm never gonna understand men? And Miranda says, well, my dad was home every night for dinner, and I don't understand men. And then she said something like, oh, yeah, so it's a crapshoot. And Miranda's like, yeah, it's a crapshoot. And I was like, that is. Is so well put. Yes, it's so good. It's so Good. But I love that she even went there and I had fully 100% forgotten. And then we do see a picture of her little self and her, her dad, which I have to go back and look. I think it's Sir Jessica and her, her dad.

[B]

Okay. So I wrote this down. I, I had a question about this because when in movies and TV shows when they show an old picture of an actor, I love when they use. It's clearly a picture of them as a child. I love when that happens. Like you said, I think this is. I was wondering if that was. That's Sarah Jessica's dad.

[A]

I need to go back and look. I think it was Sarah Jessica's dad and her. He was kind of a big guy and that's what it looked like. The picture was very sepia, like 70s looking. So I would have to go back and check. I could actually ask her often what they do and you can sometimes tell is that they would get a. They would ask you to bring your baby pictures in. Then let's say that your dad is being played by an actor who's there. They get old pictures of them in and they Photoshop, you know, they edit them together.

[B]

I was gonna ask if that's ever happened to you.

[A]

Oh, yeah. Oh, for sure. Yeah, yeah. Oh, yeah. I mean, just this job I just did, there's many a flashback and whatnot. And they created a bunch of pictures. I'm not going to say anymore because I'm not supposed to, weirdly. But that's what Disney wants, so that's what I will do. But yeah, they, they. Sometimes what they'll do is they'll have you come in and take pictures and then try to work on them to make them look up the era.

[B]

Oh, interesting.

[A]

Right. And then. But oftentimes they'll like. I'm trying to think, you know, because when we did the movies, I had a little toddler aged Lily. Right? Yes. I think we got, though it was twins and I think we got their baby pictures and then cut one out. Right. And then put younger Charlotte and younger Harry. You know what I'm trying to say? Because we missed the baby years, right?

[B]

Oh, yes. Oh, I didn't even think about that.

[A]

Does that make sense? Yeah, that. But they do. There's some magic, you know, in the, you know, photo department, basically.

[B]

It must be so. I mean, being an actor, there's so many bizarre things that happen to you. But like, it must be so weird to see like a picture of you from high school that you have personal memories too. And then just see it next to, like, Rob Lowe from high school, you know, like, that's true. That's so strange.

[A]

Well, I don't give them. I mean, this is where it gets to very difficult.

[B]

Yeah.

[A]

Is that you? Like, I don't give them. Maybe I used to, in my beginning of my career. I don't give them ones that are really recognizable or whatever. I try to give them more. Like. Like, I wouldn't give them. Oh, I feel like I have given people my high school graduation picture, but I wouldn't give them, like, oh, maybe I have. I'm thinking about this now. What other pictures would I give them? If they. If they ask you for high school pictures, you don't have that many, like, normal high school pictures, right?

[B]

Yeah, yeah.

[A]

You have, like, the prom, you know, whatever.

[B]

I'm in, like, a senior picture, right?

[A]

I probably have. That's weird. Oh, that is weird. It's funny because when you're in the middle of production or you're starting or whatever, Right. You're in the middle of prep, you're just like, oh, I'm giving them whatever they want. They're asking for these things.

[B]

Yeah.

[A]

But I also feel now that we're in this weird digital age where they can find them.

[B]

Yeah.

[A]

You know what I mean? It's strange. I don't know. It's all very strange. And then if you think about all the things. Sometimes I get very freaked out by the AI things that they do to the four of us. Like, there's this whole baby thing. Did you see the baby thing? People that we knew reposted them. Like, Molly reposted it. I was like, I am not gonna post us as babies. AI babies. That is weird.

[B]

It's. I. I'm not a fan of AI. I just like AI. Me neither.

[A]

Yeah.

[B]

But sometimes I see those videos where it's like, it'll be an actor now hugging themselves.

[A]

I cannot stand it.

[B]

It just looks like they just look so dead behind the eyes. And it's just like.

[A]

It freaks me out.

[B]

I hate it.

[A]

I know, I know, I know. And I also. I don't want to see myself hugging my young self. That's ick, people.

[B]

Yeah. And I'm like, who wants this? It's so.

[A]

No one. No one. This is what I do think, though. There was this trend that I believe my. My girls who helped me with my social media did do a video of me in the 90s. What were you like as the 90 in the 90s, mom? Or whatever, Right? Is that right?

[B]

Yes. Yes.

[A]

And we did. We actually did one. And it got a lot of play and adorable. Sza texted on my. You know, on my comments, said that. That she didn't know why she was crying, that she thought it was the passage of time, you know, Cuz this is really deep. And I was like, I love you so much, Sza. So, you know, so sweet. But she said anyone that was at the beginning of the trend, anyone who was posting those, it would make her. Her cry. Well, then I look at. I'm like, oh, my God, Sarah Jessica did one. And then I realized, no, Sarah Jessica did not do one. Sarah Jessica does not do these things. Jody. Mean, someone else did it, but that's not cool. And then you don't even know for sure if it's real. Yeah, Judy mean, I mean, I know the part she's done right. And I recognize them, but like, there were questionable things in there. And then I saw this weird, weird racial whites one. She's not even on social media and she's walking. But I'm like, like, I don't know if that's AI Rachel Weiss. Like, what is it? It's not good. It's not good. We need to do whatever there is. There's some bill out there in the. In the law world, the world of laws about no fakes.

[B]

Yeah.

[A]

Like, we need to pass that, because if they can do it to us and it's funny and fun, that doesn't really mean that it's going to be funny and fun when they're doing it to everybody.

[B]

Y.

[A]

It's freaking me out. I know. It's. It's bad. It's. All right. That was fun, Easton. Thank you.

[B]

Such a fun time. Such a good episode.

[A]

I know. It's such a great episode. Thanks for being back. We love you. Anytime you want to come.

[B]

Well, I'm always. Ideally, I'm always here.

[A]

Ideally, you're always here. I know. You're really Needed by the Jonas Brothers, and that's fine.

[B]

The jokers just love me so much.

[A]

I'm sure they do. We love you because you're really great at your job and you're really smart and personable and you can be behind the scenes or in front. It's great, you know.

[B]

Thank you, Kristen. I'll be clipping that, putting it on my playlist and listening to that later. Thank you.

[A]

Well, that's fine. You can do that. Thank you. This is an Iheart podcast. Guaranteed human.