209: On Sex and the City: One

Summary

Every Outfit Podcast Summary: Episode 209 - On Sex and the City: One

Release Date: February 21, 2025

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1. Episode Overview

In Episode 209 of Every Outfit, hosts Chelsea Fairless and Lauren Garroni dive deep into the Sex and the City episode titled "One." This rewatch focuses on pivotal moments that mark significant transitions in the series, analyzing character developments, thematic elements, and behind-the-scenes insights from the show's commentary track with Michael Patrick King.

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2. Launching the Final Act

The hosts begin by acknowledging the episode's role in setting up the final act of the series. Jen, a longtime listener, requests an in-depth analysis of "One," highlighting its importance in advancing the storylines of key characters:

• Carrie and Petrovsky: The episode introduces Alexander Petrovsky, setting the stage for Carrie's potential "endgame" with Mr. Big.
• Miranda and Steve: Miranda faces a crossroads in her relationship with Steve, choosing between continuing their bond or exploring new possibilities.
• Charlotte’s Family Journey: Charlotte enters a new phase in her family life, deepening her connection to her artistic pursuits.
• Samantha’s Vulnerability: Although subtly, Samantha begins to confront her vulnerabilities, hinting at future character arcs.

Notable Quote:

Jen: "[...] this episode launches the final act of the series. [...] it's the beginning of her coming to grips with some of her own vulnerability." [Transcript Timestamp: 01:25]

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3. Marina Abramovic’s Art Installation

A significant portion of the episode centers around Marina Abramovic's performance piece, House with an Ocean View. The hosts dissect how Sex and the City incorporates this avant-garde art into the narrative, blending high art with the show's trademark wit.

• Performance Analysis: Abramovic's installation, where she remains silent and refrains from eating, serves as a backdrop for character interactions.
• Character Reactions: Carrie critiques the authenticity of the performance, while Charlotte exhibits her deeper appreciation and understanding of contemporary art.
• Behind-the-Scenes Insight: Michael Patrick King reveals in the commentary that the episode was inspired by his friend's notice of Abramovic's performance, emphasizing themes of presence and endurance.

Notable Quote:

Carrie Bradshaw: "I spent $40,000 on shoes." [Transcript Timestamp: 02:38]

Samantha Jones: "I do admire Daddy MPK's restraint not to license U2's 'One' for the end credits of this episode." [Transcript Timestamp: 03:11]

Charlotte York: "This piece is all about being present... is that getting you close to spiritual enlightenment?" [Transcript Timestamp: 05:25]

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4. Introduction of Alexander Petrovsky

Alexander Petrovsky, portrayed by the renowned dancer Mikhail Barishnikov, is introduced as a charismatic and enigmatic figure. His interaction with Carrie Bradshaw introduces a fresh dynamic to her relationships.

• Casting Significance: The choice of Barishnikov brings authenticity and depth to Petrovsky’s character, aligning with his artistic persona.
• Character Dynamics: Petrovsky challenges Carrie intellectually and emotionally, contrasting with her relationship with Mr. Big.
• Impact on Carrie: Their encounters prompt Carrie to reflect on her desires and the qualities she seeks in a partner.

Notable Quote:

Alexander Petrovsky: "And what did you think?" [Transcript Timestamp: 10:42]

Carrie Bradshaw: "It's good." [Transcript Timestamp: 10:55]

Samantha Jones: "You are a comic." [Transcript Timestamp: 16:53]

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5. Miranda and Steve’s Relationship Arc

Miranda Hobbes grapples with her feelings for Steve and her existing relationship with Dr. Robert Leeds. The episode portrays her internal conflict and the complexities of balancing personal desires with relationship commitments.

• Emotional Turmoil: Miranda’s decision to eat the "I love you" cookie symbolizes her struggle with expressing her true feelings.
• Relationship Dynamics: The episode highlights the premature escalation of her relationship with Robert, setting the stage for future tensions.
• Character Development: Miranda's actions reflect her pattern of avoiding vulnerability, a theme that continues to resonate in the series.

Notable Quote:

Miranda Hobbes: "My eyes. Getting old is one thing but this, this cannot get old. What will Smith think?" [Transcript Timestamp: 39:23]

Carrie Bradshaw: "It's not a disaster. It's all part of getting older." [Transcript Timestamp: 39:19]

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6. Samantha’s Comedic Misadventures

Samantha Jones provides comic relief through her subplot involving personal grooming mishaps. Her decision to dye her pubic hair becomes a humorous yet relatable topic, showcasing her bold personality.

• Character Quirk: Samantha’s choice to dye her "bush" reflects her carefree and unapologetic nature.
• Comedic Elements: The over-the-top transformation leads to funny interactions with her friends and partner, Smith Jared.
• Behind-the-Scenes Insight: The commentary reveals the challenges of portraying such intimate scenes, especially with Kim Cattrall’s concerns about maintaining her character’s integrity.

Notable Quote:

Miranda Hobbes: "I'm Bozo the Bush." [Transcript Timestamp: 40:22]

Samantha Jones: "I'm a working woman and I don't have time for you to be down there searching for it." [Transcript Timestamp: 52:50]

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7. Charlotte’s Family Challenges

Charlotte York faces personal struggles, including a pregnancy announcement followed by a miscarriage. These events add depth to her character, highlighting her vulnerabilities and resilience.

• Emotional Impact: The revelation of Charlotte’s pregnancy introduces both joy and impending sorrow, underscoring her fertility challenges.
• Character Relations: Her miscarriage affects her relationships, particularly with her partner and friend Carrie.
• Narrative Significance: These personal events propel Charlotte’s storyline towards more profound emotional arcs in subsequent episodes.

Notable Quote:

Charlotte York: "Smith enjoys a full bush." [Transcript Timestamp: 25:19]

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8. Thematic Exploration: “The One”

A central theme of the episode revolves around the concept of "the one" – the pursuit of a singular ideal in love, career, and personal fulfillment.

• Philosophical Insight: The hosts discuss how characters seek to find their perfect match or ultimate achievement, often leading to perpetual dissatisfaction.
• Carrie’s Reflection: Through her voiceover, Carrie muses on the societal pressures to find "the one" in various aspects of life, questioning when the quest for completion will cease.
• Cultural Commentary: The discussion touches on Michael Patrick King’s intentions to critique Valentine’s Day’s impact on single individuals, paralleling broader societal expectations.

Notable Quote:

Carrie Bradshaw (Voiceover): "How will waiting for the one be done?" [Transcript Timestamp: 32:34]

Samantha Jones: "So really the question is, when will we be one with ourselves?" [Transcript Timestamp: 32:59]

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9. Character Development and Commentary

The hosts analyze the nuanced character developments introduced in the episode, emphasizing their significance in the overarching narrative.

• Petrovsky vs. Mr. Big: Petrovsky represents a new type of relationship for Carrie, offering fresh dynamics compared to her history with Mr. Big.
• Miranda’s Growth: Despite her flaws, Miranda’s actions hint at deeper emotional layers and future growth.
• Samantha’s Boldness: Samantha continues to defy societal norms, maintaining her status as a trailblazer among her friends.
• Charlotte’s Resilience: Charlotte’s journey through pregnancy and miscarriage showcases her strength and enduring hope for family.

Notable Quote:

Charlotte York: "This is a majorly important episode." [Transcript Timestamp: 60:30]

Samantha Jones: "I feel like Mikhail Baryshnikov is such an underrated actor as well." [Transcript Timestamp: 15:36]

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10. Conclusion and Ratings

As the discussion wraps up, both hosts reflect on the episode's impact and share their personal ratings.

• Chelsea Fairless: Awards the episode a 9 out of 10, citing memorable moments like Samantha’s bush dilemma and the introduction of Petrovsky.
• Lauren Garroni: Gives an 8 out of 10, appreciating the episode's blend of humor, emotional depth, and character progression.

Both hosts agree that Episode "One" is a cornerstone in the series, effectively setting up critical storylines and deepening character arcs as the show approaches its finale.

Notable Quote:

Charlotte York: "Love this episode nonetheless." [Transcript Timestamp: 64:47]

Samantha Jones: "We get the culmination of Steven Miranda's love story." [Transcript Timestamp: 60:50]

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11. Final Thoughts

Every Outfit Episode 209 offers a comprehensive and engaging analysis of a pivotal Sex and the City episode. Through meticulous examination of character developments, thematic elements, and behind-the-scenes insights, hosts Chelsea and Lauren provide listeners with a rich understanding of the episode's significance within the series. Whether you're a longtime fan or a newcomer, this summary captures the essence of the podcast’s discussion, highlighting why "One" remains a standout installment in the beloved series.

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Key Takeaways:

• Art and Emotion: The integration of Marina Abramovic’s performance art underscores the show's ability to blend high culture with personal narratives.
• New Relationships: The introduction of Alexander Petrovsky injects fresh energy into Carrie's romantic life, offering new dynamics compared to her relationship with Mr. Big.
• Personal Struggles: Miranda and Charlotte face significant personal challenges, adding depth and emotional complexity to their characters.
• Humor and Vulnerability: Samantha’s comedic subplot about her "bush" provides levity while showcasing her fearless personality.
• The Pursuit of "The One": The episode critically examines societal pressures to find perfection in love, career, and personal fulfillment.

Notable Quotes Recap:

• Carrie Bradshaw: "I spent $40,000 on shoes." [02:38]
• Charlotte York: "This is a majorly important episode." [60:30]
• Samantha Jones: "I feel like Mikhail Baryshnikov is such an underrated actor as well." [15:36]

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For more insightful discussions and fashion commentary, tune into Every Outfit every Friday.

Transcript

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[Jen]

Hi, this is Jen, first time caller, longtime listener. I'm requesting a rewatch episode of one, which is season six, episode 12. This is one of my favorite episodes and I'm really curious what you all make of it. I feel like this episode launches the final act of series. We have Carrie meeting Petrovsky, which has to set up her endgame with Big. We have Miranda choosing Steve. We have Charlotte like really entering a new phase of her family journey and also leaning harder into her Elizabeth Taylor coding which follows through all the way into Andrus like that. And I think there's even a case to be made for this being a valuable storyline for Samantha, even though hers is kind of ridiculous just because it's the beginning of her coming to grips with some of her own vulnerability. That's probably a reach. Anyway, would love to know your thoughts on it. And also I'd like some information on the handkerchief dress that Carrie wears in the opening scene. Okay, thanks. Love the podcast. Bye.

[Carrie Bradshaw]

I spent $40,000 on shoes.

[Samantha Jones]

What's the matter Morty?

[Charlotte York]

Tendermint.

[Samantha Jones]

Great gowns, Beautiful gowns. Fashion has changed. No, it hasn't. Hi, I'm Lauren Garoney.

[Charlotte York]

And I'm Chelsea Fairless.

[Samantha Jones]

And welcome back to our monthly rewatch of a Sex and the City episode, which sometimes, if you call our hotline, we will just take your suggestion and watch that episode.

[Charlotte York]

Which is why this month we are doing one. Unfortunately, the U2 song one has been in my head all week because of this. Lauren, we're one, but we're not the same. We have to carry each other.

[Samantha Jones]

I do admire Daddy MPK's restraint not to license U2's one for the end credits of this episode, but I also wanted to do this episode, given that last month the episode we did focused heavily on the beginning of Miranda and Steve's relationship. This is sort of the beginning of the end, let's say, of Steve and Miranda's relationship.

[Charlotte York]

Is that the beginning of the end?

[Samantha Jones]

Well, I mean, when I watched this episode, I was like, finally, their end game. They get to have their happy ending until, you know, 20 years later within. Just like that. And I will say, I watched this episode twice. Once just fresh. And then I remember, because I obsessively watched and wore out my Sex and the City box set, that this episode has a commentary track with Michael Patrick King. So I thought that there might be some enlightening anecdotes for this episode. And I wasn't wrong.

[Charlotte York]

So this episode starts, of course, with a Carrie voiceover. When Charlotte and I heard that there was a woman in Chelsea not talking or eating, we were there in a New York minute.

[Samantha Jones]

What I learned from the commentary track done by Daddy MPK is this episode's a lot of working smarter, not harder. And this is inspired by Michael Patrick King's friend calling him up, saying, there is a woman at an art gallery not talking or eating. We have to go.

[Charlotte York]

And of course, that woman is Marina Abramovic. She had done this performance piece which is called House with an Ocean View in a New York gallery. I think this the year before.

[Samantha Jones]

It's 2002. They're shooting this in 2003. It comes out in 2004. So, yes, it is a straight up ripoff of the Marina Abramovic piece.

[Charlotte York]

Well, that's because it's not a ripoff. It is the piece that she lent to Sex and the City. Like, they got her permission. She didn't want to play herself because she said that she isn't an actress. But it's like this woman has no lines. There's no acting and in terms of artists, it's like she's the closest to an actress of all of them. Already she is performing ever the performance artist.

[Samantha Jones]

To be like, I don't think I can perform in this piece.

[Charlotte York]

It's so crazy. So she did that piece for two weeks. She lived in view of the public. But because she didn't eat, like, she fasted the whole time, she just drank water. She didn't have to, like, in front of people. Which makes the not eating aspect of this make a lot more sense.

[Samantha Jones]

Did she just have a pot to piss in? Quite literally, no.

[Charlotte York]

Look at the set. So on the far left of it, there's a shower and a toilet.

[Samantha Jones]

I see it now. Yes.

[Charlotte York]

In the middle, there's some sort of, like, table and chair. And then at the end, it's like basically a bench that she sleeps on.

[Samantha Jones]

The look of this piece seems to be Kim Kardashian's fantasy for an interior design concept.

[Charlotte York]

I know. I get that this piece. Piece is all about being present, of course, a through line through her work. But it's like, why does this furniture have to be so uncomfortable? Like, is that getting you close to spiritual enlightenment? Like a parson's table and matching chair? I don't know.

[Samantha Jones]

I don't know if I'm Charlotte, if I'm taking Carrie to this performance art installation.

[Charlotte York]

Well, it's kind of a little weird that Charlotte's into it too.

[Samantha Jones]

What I love about this episode, especially in this scene, we get a bit of Charlotte York Gallerista lore.

[Charlotte York]

Also, we should note Marina Abramovic is actually friends with Kim Cattrall. They were not friends when this episode was filmed. They, of course, did not have scenes together, but they became friends. They've been photographed together on several occasions. And if you'll remember, Kim also went to Marina Abramovic's big show at MoMA and did the whole, like, sit face to face, sit down thing where she cried. Of course.

[Samantha Jones]

I think, ironically, Samantha would be the friend out of the four women I would take to this installation. Certainly not Miranda. Not Carrie. Although, to be fair, I am Carrie in this scene. I would be making these, like, not so funny, pithy remarks as well, because Carrie goes, how long is she doing this for? And Charlotte replies, 16 days, 24 hours a day. This is day six. And Carrie goes, it gets worse.

[Charlotte York]

So rude.

[Samantha Jones]

So Charlotte explains the art piece reading. By changing my personal energy field, I'm attempting to change my energy field in this room. And perhaps that energy shift will shift the energy of the world to Which Carrie does not take any of that in. And she's like, great.

[Charlotte York]

So pastis for lunch, Carrie is wearing my favorite Carrie outfit of all time, which is this asymmetric squiggle print dress by Zondra Rhodes. So good. A Holy Grail vintage piece then and now. But maybe a little bit more bohemian than what we are used to seeing her in. She's leaned into that more with Anne. Just like that.

[Samantha Jones]

Of course, I do enjoy Carrie's line about girlfriend needs to comb through her hair. She has company, which makes Charlotte laughs. And then they show that this is not appreciated by having a bald headed woman glare at Carrie.

[Charlotte York]

Carrie should appreciate her look, but she doesn't because she's not a minimalist. Like, this is actually a pretty chic outfit worn by the foe, Marina Abramovic.

[Samantha Jones]

Yeah, if you had to wear the same outfit for how long did she do the piece?

[Charlotte York]

Well, she changed the outfit every single day to a different color, but it was a vaguely utilitarian looking shirt and pants combo.

[Samantha Jones]

Cari finally gets that her general vibe isn't appreciated at this art gallery. So she begins looking around and this is when she sees a handsome man. We do not know who this man is just yet. And this is where we get this original score piece that plays throughout the episode. Very magical, very whimsical, but also seems like it could be played in the lobby of a soho hotel at the time.

[Charlotte York]

So they're leaving the gallery and Charlotte sees Alexander Petrovsky, who of course was the guy that was making meaningful eye contact with Carrie. She is a huge fan. In fact, his piece Abstract Number One was her first major sale.

[Samantha Jones]

That's what I'm saying is I love this Charlotte Yorke lore dump about her art gallery career that we only get after she stopped working at an art gallery.

[Charlotte York]

See, this is like the deepest level of sex in the city trivia. Like, what was the name of Alexander Bo's painting that Charlotte sold?

[Samantha Jones]

Oh, my God. But I do love that Charlotte can't help but Charlotte and has no chill and begins, like doing her own lore dump on Alexander Petrovsky in front of him. I mean, he knows about his own career and he sort of shushes her. Like, not now. The stands might come after me.

[Charlotte York]

No, it's very embarrassing. And then Petrovsky asks Carrie what she thinks about the piece.

[Alexander Petrovsky]

And what did you think?

[Carrie Bradshaw]

It's good.

[Alexander Petrovsky]

But you thought it was funny. I've heard you laugh.

[Carrie Bradshaw]

I'm not very arty.

[Alexander Petrovsky]

You don't think it's significant?

[Carrie Bradshaw]

Oh, please. There are depressed women all over New York doing the exact same thing as her and not calling it our. I mean, if you put a phone up on that platform, it's just a typical Friday night waiting for some guy to call. She's kidding. And frankly, I don't buy the whole 24 hours not eating thing. I bet if anyone bothered to come down here at three in the morning, she wouldn't even be up there. She'd be around the corner having a Big Mac. Why do you think she has the knife ladders? To keep her from running out for a snack.

[Alexander Petrovsky]

And who are you?

[Carrie Bradshaw]

What do you mean?

[Alexander Petrovsky]

Your name?

[Carrie Bradshaw]

Oh, I'm Carrie Bradshaw.

[Alexander Petrovsky]

You are a comic.

[Charlotte York]

See, I think that Carrie's extreme reaction proves that this artwork is successful because it is eliciting such a strong reaction. You know, kind of like Bianca Censori's Grammys outfit.

[Samantha Jones]

It makes you feel, it makes you think, and it upsets you a little bit. Well, again, in listening to the commentary track, there's not a lot of writing going on. I mean, this was Michael Patrick King's feelings upon seeing the Marina Abramovic piece was like, there's no way she's here all night. She must be big in the middle of the night. And we get our seventh, eighth McDonald's reference throughout this series. There'll be a few more before the series comes to an end.

[Charlotte York]

See, two weeks isn't even that crazy for Marina Abramovic. Like, didn't this bitch spend, like three months walking the Great Wall of China?

[Samantha Jones]

Yeah. Why do you think she has such an affinity for David Blaine? Which is my favorite part of that documentary of Marina Abramovic mounting her moma piece was originally she wanted to do it with David Blaine. And to me, this is one of the most unintended comedic scenes I've ever seen in a film is in this documentary when all of the people around her are very kindly trying to talk her out of this impulse.

[Charlotte York]

I think it's a correct impulse. They basically do the same thing. They do durational performance art, and they get the most attention for it.

[Samantha Jones]

Imagine if Marina Abramovic started doing up close magic.

[Charlotte York]

Did I ever tell you that David Blaine did up close magic with me?

[Samantha Jones]

You did, but tell the fuck ads.

[Charlotte York]

I was at PS1, the offshoot of MoMA in Long Island City, and David Blaine was just walking around doing magic.

[Samantha Jones]

Were you impressed?

[Charlotte York]

Of course. It's very impressive.

[Samantha Jones]

Did you then ask him about the Pussy posse and his part in it?

[Charlotte York]

I did not, But I did feel the Riz it's real.

[Samantha Jones]

This is a man who dated Fiona Apple, then dated Josie Maron, who looks exactly like Fiona Apple. And if I'm remembering a particular Howard Stern appearance correctly, was Fiona Apple's stand in for a music video. And that's how they met.

[Charlotte York]

Does Josie Moran look like Fiona Apple? That's a hot take.

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[Samantha Jones]

Anyway, back to this episode. We haven't even talked about the fact that Alexander Petrosky is played by Mikhail Barishnikov, a famous dancer, a famous New York figure.

[Charlotte York]

It boy. Really?

[Samantha Jones]

Yeah. And I remember when he was cast, this excitement around his casting. This was a very difficult role to create. And to cast, you needed someone that you realistically thought, like, okay, she might end up with this person. And I'm okay with it.

[Charlotte York]

Well, because there are some aspects of him that are more major than Big. The fact that he's this hugely famous and important conceptual artist. The fact that he has this fabulous apartment, which is much cooler than any Mr. Big apartment we've ever seen.

[Samantha Jones]

Absolutely.

[Charlotte York]

In that he's also a creative person like Carrie.

[Samantha Jones]

And he also keeps Carrie on her toes, as we see from their first meeting until potentially the end of their relationship, in a way that just Big isn't that way with Carrie. She's on her toes, but in a way that she can't catch up. And I feel like Petroski keeps Carrie on her toes in a very charming way. Michael Patrick King says in the commentary that this character is meant to force Carrie to open up in a way she hasn't before.

[Charlotte York]

But they also just wanted to cast someone that was older. Michael Patrick King was annoyed that people were always saying that Mr. Big was too old for her. So out of spite, he was like, I'm going to give her a boyfriend that's even older. Which is how he comes into the picture. But I feel like they did write this episode after casting him. Even the fact that he's some sort of legendary Studio 54 going Playboy is consistent with Baryshnikov's own history.

[Samantha Jones]

This was Sarah Jessica Parker's thought to cast Mikhail Baryshnikov. And they went to him and pitched the idea and he was like, thank you very much, but I don't think this is something that I do. And they really lobbied him. And I guess Mikhail Baryshnikov invited Michael Patrick King and John Melfi, who's a producer of the show and Sarah Jessica Parker to come to his dance studio and see him perform some of the pieces he was touring. And then that just did it. They were like, we have to have you. And somehow he was like, okay, I'll do it.

[Charlotte York]

It is pretty major casting. We obviously get over Petrofsky by the end of his arc, but still pretty cool.

[Samantha Jones]

I mean, maybe the best line of this episode, it's a line that I carry with me and say frequently in life, which is, you are a comic.

[Charlotte York]

Well, it's also cool that while Petrovsky is by far the most pretentious person she ever dates, Berger being a close second, he likes the fact that she is not pretentious and that she's down to make jokes and that she's down to offer what is actually a pretty meaningful critique of this work of art.

[Samantha Jones]

She's asking the important questions. If the gallery isn't open 24 hours, how are we to know that she is actually there 24 hours a day?

[Charlotte York]

It is open 24 hours.

[Samantha Jones]

Oh, I thought they open it specially for him.

[Charlotte York]

No.

[Samantha Jones]

All right, then maybe Carrie's criticism isn't as valid. All right, now we get Miranda with Dr. Robert Leeds forgot that this storyline was happening. How could I forget?

[Charlotte York]

It's pizza night.

[Samantha Jones]

They are a new couple. Because Carrie and her voiceover says that night over at New Couple Central, he brings pizza and a smaller box, which he won't reveal what the contents are.

[Charlotte York]

And then he has to run off and deal with some sports medicine related emergency.

[Samantha Jones]

Evidently six, eight basketball players love to skateboard and bust their knees up. So he's got to go.

[Charlotte York]

So the second he leaves, Miranda's like, what is in this other box? And it is the I love you cookie.

[Samantha Jones]

It's not Gwyneth Paltrow's head. It might be even something more shocking. A Mrs. Fields esque cookie that says I love you on it. Which brings me to a question I must ask and we must investigate. Would someone like Robert leaves get a gigantic cookie that says I love you on it? One, two. Is that how he would say I.

[Charlotte York]

Love you for the first time, it is giving promposal. Like, I think it's a very sweet gesture, but it is slightly juvenile just considering the fact that they've never said I love you before. It's a weird way to impart that information to someone.

[Samantha Jones]

In the commentary track, Unsurprisingly, we know that the writers love to take things from their life. This did not happen to Michael Patrick King per se. But someone in the writers room did not give an I love you cookie, but were given an I love you cookie prematurely and then ate the entire thing. Very Miranda esque thing to do.

[Charlotte York]

Yes. I love when Miranda is in some form of psychological distress so she just eats standing up in her kitchen. So relatable. The calories don't count if you're standing up.

[Samantha Jones]

Now we have a Carrie and Miranda walk and talk, which feels like this conversation should be happening after brunch. And I learned in the commentary track it actually does. Michael Patrick King was so worried that the audience wouldn't understand why Miranda did what she did, so he felt like he had to put this conversation up a little bit sooner.

[Charlotte York]

Yeah. And she basically said she ate the cookie not because she's an emotionally unstable binge eater, but just because she had to physically, like, remove the evidence from her house of this I love you cookie.

[Samantha Jones]

Because if it's not there, then I don't have to deal with it. Because Dr. Robert Leeds, as we've discussed in previous episodes, is a perfect guy for Miranda. He is into her, he is emotionally available. He just does the cardinal sin in being in a relationship with Miranda, which is escalate things before she's ready. Although, to be fair, I do feel this is a premature I love you.

[Charlotte York]

I don't know. Is it? I feel like if you don't love someone in the first, like, couple of weeks, you never will.

[Samantha Jones]

Ooh.

[Charlotte York]

You know?

[Samantha Jones]

But if that person you love first told you they love you on a gigantic cookie, would that give you the ick?

[Charlotte York]

Not if it's him. Miranda is acting like this came from some complete loser and not from the perfect guy.

[Samantha Jones]

This is true. But he's not the perfect guy for her. Perhaps. All right, now the girls are all. At lunch, Samantha puts on a pair of glasses because she's old.

[Charlotte York]

Guys, yes, I need glasses and I'm not ashamed. I have a sexy young man who loves to fuck me and I'm fabulous. Perfect.

[Samantha Jones]

I do love Carrie's line of have you ever considered putting that on a T shirt? To which new merch item but, you know, it's unnecessary for Carrie to then add, are those the kind you get at the drugstore next to the Bengay?

[Charlotte York]

So rude.

[Samantha Jones]

They're, of course, Chanel, and I love that they chose sort of a 1950s Rosalind Russell Secretary esque Chanel, pair of glasses for Samantha.

[Charlotte York]

So the topic of Alexander Petrovsky comes up. Samantha is instantly horny.

[Samantha Jones]

Yes. And clearly this man, even briefly, has made an impact on Carrie. If she's bringing him up, we imagine a day or two later that are you comic comment really stuck in her head. To your point, a lot of Mikhail Baryshnikov's own backstory is weaved into Alexander Petrovsky. We hear it here first with the fact that he was a hot guy.

[Charlotte York]

At Studio 54 and dated every top supermodel in the 70s, which, yeah, was Jessica Lange at the time. When I think of him In Studio 54, there is a famous photo of him and Liza Minnelli dancing that comes to mind. That's when the Sex in the City universe just implodes again.

[Samantha Jones]

This episode has a lot of lore, a lot of backstory added to it. We get Charlotte's history with the Gallery, a little bit of that. We get Samantha's history with Studio 54. We also get one of my favorite bits of this episode, which is Samantha doing math through Studio 54 terms.

[Miranda Hobbes]

How old is he now? Let me see. When I was 22, he was about three. Studio 54 was 79. So that would make him, what, 53.

[Samantha Jones]

And that would make you.

[Miranda Hobbes]

I'm 40 fucking five. I have nothing to hide.

[Samantha Jones]

So, yes, he's 53, which is interesting because I did the math. Mikhail Baryshnikov was 56 at the time. Could have made him even older to annoy people even more.

[Charlotte York]

Yeah, he doesn't even seem that old.

[Samantha Jones]

No. And it's funny to use, of all people, Mikhail Baryshnikov as a counterpoint to the criticism that Carrie dating Mr. Big is too old of a man for her. Because, frankly, Mikhail Baryshnikov comes off a lot more youthful and younger than Chris Knoth, frankly. Also because we're coming off of the episode before is the domino effect where Big has heart surgery.

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[Charlotte York]

So Charlotte reveals that she's pregnant. I don't even want to get into this because we know where this goes, and it's sad, but this is a crucial part of Charlotte's fertility nightmare.

[Samantha Jones]

This is maybe the meanest thing that they've done in the entire series and movies. Like, I think that this is meaner than Big leaving Carrie at the altar in the first film.

[Charlotte York]

Yeah, but at least they didn't stretch it out over multiple episodes. She only was pregnant for, like, 10 minutes, if that.

[Samantha Jones]

You have this news that Charlotte is pregnant, which is this joyful moment. And then Samantha scratches her crotch and explains that she's growing her bush out because that's the way that Smith likes it.

[Charlotte York]

Smith enjoys a full bush.

[Samantha Jones]

I'm sorry, you are correct. That is what she says. Which in that moment, I was like, so, like a landing strip. But as we'll learn, like, no. Like a full 70s bush.

[Charlotte York]

No, I get the vibe that she had a landing strip and is growing out the rest. But I could also see Smith being one of those guys that, like, wants underarm hair, leg hair. Like a full, you know, European nude beach kind of vibe.

[Samantha Jones]

Smith Jared continues to be the coolest, although we only see him briefly in this episode. Could have used more Smith Jared, frankly.

[Charlotte York]

So back at Carrie's apartment, she gets a phone call. I love this scene so much. It's so good because I can see myself doing this also.

[Samantha Jones]

Absolutely.

[Charlotte York]

Alexander Petrovsky is calling her, but she keeps hanging up on him because she's like, I don't know who the fuck this is.

[Samantha Jones]

Until he finally gets it out on the third call. This is Alexander Petrovsky calling for Carrie Bradshaw. So formal, so sexy. And yes, I too relate to this that Carrie then pretends that she has a sister who's actually the one who answered the phone.

[Charlotte York]

She's like, that wasn't me. But he, of course, knows that it is. This scene is very funny.

[Samantha Jones]

I just love that all of Carrie's carry isms he one, finds charming. And two, it just rolls off of his back because he. He does go, it sounded just like you. And she goes, oh, no, no, that's my sister visiting. And he goes, oh, that's nice. Just moves on. He invites her out so that they can see if indeed this artist is up in the middle of the night or if she is getting Big Macs. I do love this exchange. Let's play it here.

[Alexander Petrovsky]

Are you still laughing at that artist?

[Samantha Jones]

Excuse me?

[Alexander Petrovsky]

Saying that she is eats all night Big Macs.

[Carrie Bradshaw]

Well, I'm sticking to my guns.

[Alexander Petrovsky]

I thought you would. So let's go see her at 3am to be sure. How's Saturday for you?

[Carrie Bradshaw]

You're not serious.

[Alexander Petrovsky]

I am serious. She is serious. You're the one who is not serious.

[Samantha Jones]

In the commentary track, Daddy MPK discusses that in spending time with Mikhail Barishnikov, who he now gets to call Misha because they're friends. I will not do such a thing because I do not know this man. But instead of trying to write a character who had a Russian cadence, he just wrote in Mikhail Baryshnikov's rhythm, because why not? And it's so charming. I feel like Mikhail Baryshnikov is such an underrated actor as well.

[Charlotte York]

Also, I love when Carrie's like, I'm not going to get sold into white slavery, am I? And then he's like, I do not understand. That is a perfect interaction. It's Carrie making a very problematic joke and then it falling completely flat.

[Samantha Jones]

Maybe Alexander Petrovsky would have had a better understanding because, you know, this is five years before Taken comes out. So he has no point of reference for anything she's talking about. But again, even that rolls off his back when she's like, it was a joke. And he's like, okay, comic goodbye. These beats overlay similarly with beats of in Just like that, where you have a funny, charming, sweet moment. And then we are hit with a moment of sadness because she immediately gets another phone call. She thinks it's going to be Alexander Petrovsky again, but instead it is Harry. And I love this edit where it just goes from her talking to Harry, saying what's wrong? To Harry opening the door of their apartment.

[Charlotte York]

Charlotte has, of course, had a miscarriage. She's super depressed.

[Samantha Jones]

Kristen's performance, as per usual, is impeccable. She's really going through it. I do love that. As Carrie goes to comfort her, her first thought is that she just can't go to Brady's birthday party.

[Charlotte York]

Yeah, of course.

[Samantha Jones]

I don't know. I've always been moved by that line, the way that Krista delivers it. It's just incredible.

[Charlotte York]

Yeah, this is a very sad scene. We're over being sad. So cut to a Jules and Mimi scene.

[Samantha Jones]

I don't really understand what Miranda's logic of eating the cookie. I mean, she wasn't thinking logically because of course she's gonna have to see Robert again. Not only are they dating, but he lives in her building. I don't know if you've forgotten this, Chelsea, but he's just downstairs or upstairs. I forget. And so he asks her about the cookie, and all she can say is, I ate the whole thing. And when he goes, what about what it said? She goes, sweet. So sweet. And then the scene just ends. And then we get Miranda on the couch watching Jules and Mimi, which I completely forgot that the Avatar series that set up her interracial relationship is still going on. I guess they dropped this in the second part of season six. Yeah, they drop Jules and Mimi. And then we learned that she has.

[Charlotte York]

A tabloid habit because kind of weird if she watches Jules and Mimi around Steve, you know?

[Samantha Jones]

Absolutely. I mean, I would love to know what happened to Jules and Mimi, frankly.

[Charlotte York]

So in Jules and Mimi, they say that they love each other, which prompts Miranda to call Carrie and be like, I'm fucked up. I can't say I love you. Why am I like this? He's the perfect guy. I'm going to ruin my life.

[Samantha Jones]

Yeah. I thought it was very profound and kind of prophetic for where the storyline goes for Miranda in and just like that, where she says, I'm never going to be happy. I always thought that when the right guy came along, all of my bullshit will calm down and go away and the words would just fall out of my mouth because I would know he was the one. And here he is.

[Charlotte York]

Yeah. Throughout the course of the episode, we come to understand that she can't find the words because she's in love with Steve. And unfortunately, Robert just gets caught in the middle of this.

[Samantha Jones]

But I think this is the beginning of the theme of this episode, which is the one. I don't know how it affects Charlotte exactly thematically.

[Charlotte York]

Well, she's waiting for the one child to complete her family.

[Samantha Jones]

That's true. But as we've often spoken about when we rewatch these series, we realize that you can really only serve three of the characters storylines. I think the one that sort of gets left out of this episode is Samantha. Although she does have a story arc. But her story arc is just one gray pubic hair.

[Charlotte York]

Yeah. But as always, she's doing the most with the least. Now we get the. I couldn't help but wonder.

[Carrie Bradshaw]

I blame Valentine's Day. Hundreds upon hundreds of cards all decreased. You're the one. Just imagine the hundreds and Hundreds of wrenching late night phone calls all over this one idea. And it's not just with love. It seems we're always looking for that one thing to make our lives complete. That job, that chance, that family. I couldn't help but wonder, when will waiting for the one be done?

[Samantha Jones]

I don't know, Carrie. When Mr. Big wakes up to his own bullshit and says, you're the one?

[Charlotte York]

Yeah, but I think they're speaking about the One in a more broad way because they also say the one job, you know, that chance, etc. So I think it's more about how we tend to spend our lives chasing things, then when we get them, there's just more things to chase and blah, blah, blah. Or at least that's my takeaway.

[Samantha Jones]

So really the question is, when will we be one with ourselves? Chelsea?

[Charlotte York]

Yeah, when will we actually be on our Marina Abramovic bullshit and be able to enjoy the present moment instead of constantly pining for something?

[Samantha Jones]

This episode obviously takes place in the spring or summertime, but I love that Valentine's Day is being evoked because clearly it looms large in Michael Patrick King's head. Obviously Valentine's Day has a very consequential role in the first film. And in the DVD commentary track, Michael Patrick King talks about this very idea of Valentine's Day and how it kind of victimizes so many single people every single year. But he had always wanted to do a scene where Miranda only realizes Valentine's Day is coming up when she sees all of the cards suddenly pop up in a Duane Reade. But they could just never make it work. Almost like a horror film. Like, oh God, it's that time again.

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[Charlotte York]

So the next scene is really great. It is brief, but it does a lot. This is the scene where Samantha discovers that she has a gray pubic hair, decides to not just pluck the Single hair, but dye the entire bush.

[Samantha Jones]

She explains to Carrie why at Brady's birthday party, because I too was like, just pluck it out. And she really believes in an old wives tale that if you pluck it, what is it? Six more will come back.

[Charlotte York]

Well, I think there is some truth to that.

[Samantha Jones]

I assume it's before the time of those just for men hair dye combs for your, like mustache and beard. Because that would have been the way to deal with this.

[Charlotte York]

I'm sure Garnier will be selling some like pubic hair touch up kits soon. But this is truly insane. And we see the aftermath of Samantha's scary dye job. The bush is orange. And by the bush, I mean the merkin that she's wearing that looks so fake, so over the top, so ridiculous. I could actually see a world where people start to wear like sheer dresses with brightly colored markings.

[Samantha Jones]

I mean, John Galliano was doing his part with his last couture Margiela collection for sure.

[Charlotte York]

But I can see that concept then being interpreted by like bad young British fashion designers. And we're suddenly getting like chartreuse colored bushes.

[Samantha Jones]

You know, I mean, I would be into that. I would love to see Fashion Nova try to interpret that. But we have spoken about the places that Kim Cattrall went as Samantha and was forced to go by, by the writers and how ultimately, while hilarious, humiliating it might be for the actor. And in the commentary track, Michael Patrick King discusses having to pitch this idea to Kim Cattrall. To sell the joke, you would have to see her naked. And Kim Cattrall's point was like, if I do this, what is left of Samantha? I will literally have shown everything. And that is when Michael Patrick King explained, like, no, no, it's going to be a merkin. And she, I guess she was like.

[Charlotte York]

Okay, yeah, wearing a merkin is very different. Especially a merkin for comedic purposes.

[Samantha Jones]

I love that Samantha's conundrum is what to do, because the answer is like, just shave it off.

[Charlotte York]

Just get a pair of tweezers and pluck your one singular gray hair.

[Samantha Jones]

So now we're at Brady's birthday party. Of course, Steve's mom, played by the wonderful Anne Meara, has gotten a clown, which totally makes sense for this character.

[Charlotte York]

But Miranda hates the clown. We also get a scene with Debbie. Debbie has maybe the most screen time that she ever gets at this birthday party. And we see her interact with Steve's mom. And it's very evident that she has a better relationship with her than Miranda does.

[Samantha Jones]

It's interesting. I Was trying to remember what I thought when I initially watched this episode when it originally came out. Because I was watching the show live certainly during its last season. And I do feel my expectation was not that Steve and Miranda would get together. And I do think the writers are doing a good job of subverting expectations because she doesn't have an affinity for Steve's family and Steve is finally with a partner. You know, for all of Miranda's bemoaning that they're on different levels. Someone that who is on his level.

[Charlotte York]

Yeah. So Carrie walks in. She also hates the clown.

[Samantha Jones]

Well she screams. She does a very classic Carrie scream.

[Charlotte York]

And then Samantha immediately is like we need to talk. They go into the bathroom.

[Samantha Jones]

Samantha's outfit, very Samantha. Kind of wild to wear to a one year old's birthday party, wouldn't you say?

[Charlotte York]

I mean no, it's not particularly revealing.

[Samantha Jones]

There's something about the tie, front top, the sort of crop top that I was like interesting.

[Charlotte York]

At least she didn't show up in her black exploitation outfit to little Brady's birthday party. No, that would come a couple episodes later.

[Samantha Jones]

The caller who requested this episode does I think astutely point out that this is the beginning of setting up maybe the most consequential storyline that Samantha will have cancer. Smith Jarrett stayed by her side. Her maturing into a loving relationship. But we gotta have one more crazy Samantha moment before we get into all that seriousness in part two of season six.

[Charlotte York]

Lets just drop some of Samantha's dialogue. It's so funny.

[Miranda Hobbes]

Well what am I going to do? It's a disaster.

[Carrie Bradshaw]

It's not a disaster. It's all part of getting older.

[Samantha Jones]

You said that yourself.

[Miranda Hobbes]

My eyes. Getting old is one thing but this, this cannot get old. What will Smith think?

[Carrie Bradshaw]

Smith is well aware of the fact that you're older.

[Miranda Hobbes]

Older, not old. And this is old. No man wants to fuck grandma's pussy.

[Carrie Bradshaw]

Oh God. This is a child child's birthday party.

[Samantha Jones]

The way that her hands are positioned when she's like this and it's like a triangle over her vagina. She's like this can't get old.

[Charlotte York]

The delivery of no man wants to grandma's incredible. Also Carrie's reaction, fully insane. Like if a close friend of mine was like I found a gray pubic hair, I dyed my bush and now it's orange. I would be on the floor hyperventilating, screaming with laughter. I would be like I need to see this immediately where she's giving like I've lost my appetite. You're disgusting. I need to get out of here.

[Samantha Jones]

To be fair, Samantha handing her a plate of pasta salad was a choice. Sort of a lot to see your friends brightly colored highlighter orange pubic hair in 4K while having a nice creamy pasta salad. So I'm with her there. But then we get the great line, I'm Bozo the Bush. The reason that she needs Carrie's counsel is not just for this great comedic bit, but she keeps questioning what is she going to do to Smith Jarrett? And I know we're making fun of her being like, just shave it off or you should just pluck the gray hair out. But she is trying to support her man's wants and needs, which is he wants a full bush.

[Charlotte York]

He wants a full bush because it's natural. He doesn't want this honey blonde, like clarial, like drugstore bush.

[Samantha Jones]

But what is Carrie supposed to counsel her? Because your options, you literally have no other option than to now shave it all off.

[Charlotte York]

Well, Carrie didn't even say that.

[Samantha Jones]

I know. Because she gives terrible advice.

[Charlotte York]

So meanwhile, at Charlotte's house, she is partaking in one of our favorite pastimes, which is watching E. True Hollywood Story.

[Samantha Jones]

And I wonder, is our culture in such dire straits and we are, you know, morally and spiritually bankrupt because we don't have E. True Hollywood Story anymore?

[Charlotte York]

I learned so much from E. True Hollywood Story and VH1's behind the Music.

[Samantha Jones]

For me. Who could forget AJ Benza, who hosted Mysteries and Scandal, which was like a dirtier version of Turner Classic Movie history? That's where I first learned about Fatty Arbuckle.

[Charlotte York]

I learned about so many things via this kind of E Programming. I have watched the Elizabeth Taylor True.

[Samantha Jones]

Hollywood Story and I learned from the commentary track that Elizabeth Taylor co signed on her likeness and voice being used.

[Charlotte York]

In this episode, as well as them naming Charlotte's dog after her. Yes, but I get it. This is a great activity if you're depressed.

[Samantha Jones]

A rousing TV piece about someone like Elizabeth Taylor just lifts your spirits in a way that an hour of scrolling on TikTok just can't. And I say this as someone addicted to TikTok.

[Charlotte York]

So Elizabeth Taylor's life story inspires Charlotte to get off the couch.

[Samantha Jones]

It's specifically the segment where she gets the tracheotomy, which I found fascinating, but sure.

[Charlotte York]

So she puts on an outfit that is kind of giving old Hollywood. It doesn't necessarily give Elizabeth Taylor. Which is not to say that Elizabeth Taylor never wore her hair like that or Elizabeth Taylor never wore pink or whatever, but the totality of it does not evoke Elizabeth Taylor.

[Samantha Jones]

No, it's more Day Glo, Audrey Hepburn. It's giving more Breakfast at Tiffany of a silhouette than Elizabeth Taylor.

[Charlotte York]

Yeah, for sure. Which is another through line for Charlotte. We got her Breakfast at Tiffany's moment when Trey first proposed to her. But yeah, I think with Elizabeth Taylor, what we would associate with her is that extreme hourglass silhouette which doesn't really come through here. And to me, it seems like the old Hollywood actress that Charlotte would be obsessed with would be Grace Kelly, simply because she became a princess. Which seems like Charlotte's ultimate fantasy.

[Samantha Jones]

She might have started at Grace Kelly, but she settled for Elizabeth Taylor. That felt more relevant to her own life as it transpired. I feel like for the spiritual bankruptcy that Charlotte was in in this very moment and given Elizabeth Taylor's lineage in life, I think she should have come out in like a 1960s,'70s boom era Elizabeth Taylor caftan, honestly.

[Charlotte York]

Or just like a fur coat and a pair of sunglasses or something that just gives that vibe a little bit more.

[Samantha Jones]

Do we know if that pink dress is Marc Jacobs?

[Charlotte York]

That could kind of be any New York designer of that period.

[Samantha Jones]

This is true. It really could be anyone from Michael Kors to Narciso Rodriguez to Marc Jacobs to Isaac Mizrahi. And she's off, presumably walking from the Upper east side to the Upper west side to get to Brady's birthday party.

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[Charlotte York]

So meanwhile, back at the party, Miranda is flustered because she can't just set her bullshit aside and give her kid a good birthday party.

[Samantha Jones]

I was like, wow, I don't know if I'm on Miranda's side. Like I kind of feel like she should just let things be be. But I remember this love confession in the laundry room. But I didn't remember the bit of business where Steve's mother insists that the cake needs to be stored in a quote unquote cool place. So that's why they put the cake in the laundry room.

[Charlotte York]

I didn't even notice that this time around. So Steve pops in to be like, what the are you doing in here? And we get the confession. This is hard to watch for me because I'm like, how could you do this to Robert?

[Samantha Jones]

Well, to your point that this is the most screen time Debbie gets. And she's like, she seems like a good hang. She's drinking beer with Ma. How could you do this to Debbie as well?

[Charlotte York]

Yeah, it's horrible. It's also messy because they are throwing a party where all of these people are present.

[Samantha Jones]

I thought something interesting in the commentary track is Michael Patrick King notes that this is really what makes Miranda. Miranda of, like, the softness with the hardness, right? Because she says, I love you. And then she goes, I everything up, right? You have that softness in her and then that caustic nature. And I just. I just found that interesting. As someone who I know has spent a long time bemoaning what Daddy Mpk has done with it just like that. But it was so heartening and then heartbreaking to listen to this commentary track and be like, that's right. This is why I love the show. They had such a. An understanding of these characters that I feel they just lost their way with these characters that they had such a great grasp on. Although, as we're noting, this is an insane thing to do at your child's first birthday party.

[Charlotte York]

This is like, up there with, like, letting Shay Diaz fuck you in Carrie's kitchen.

[Samantha Jones]

But I guess it's all okay because as Steve says, you're the one. Because Miranda, correctly, is like, what about Debbie? And he's like, eh, it doesn't matter because, you know, you're my lobster to use. Friends parlons.

[Charlotte York]

Right after this, Magda busts in. It's very obvious that they've just been making out. Miranda has no lipstick and she can instantly tell which, again, messy. Thank God it was Magda.

[Samantha Jones]

Well, but Magda loves their messy asses because she just gives this knowing smile, like, all right, they finally figured it out.

[Charlotte York]

And in voiceover, we are told that three weeks later they were back together. Kind of wish we had seen some of these breakups. I understand why we didn't, but just genuinely curious how they went about this.

[Samantha Jones]

Well, we do get the aftermath of what happens when, yes, you date someone in your building and then you abruptly leave him for your baby daddy. I think it's either the first or second episode of the second part of season six. But in the commentary track, Michael Patrick King says that for Debbie, he Just imagined that she was okay with this breakup. And she went on to meet her person shortly after this. So there you go, there's your Little Debbie fanfic.

[Charlotte York]

So now it's finally time for Carrie's big date with the Russian.

[Samantha Jones]

They are at a restaurant called the Russian Samovar, which is literally what we see in the next two scenes is beat for beat what happened with Michael Patrick King. Sarah Jessica Parker and John Melfi Baryshnikov invites them to this restaurant. They go upstairs, they are fed the.

[Charlotte York]

Same things that Petrovsky feeds beet, salad and herring.

[Samantha Jones]

Which like Harry, Michael Patrick King thought was disgusting. So again, this whole episode is just like not so much fiction, just like ripped from the headlines of Michael Patrick King's life.

[Charlotte York]

Carrie looks amazing. She's wearing a champagne colored beaded mini dress with tiers of of beaded fringe. A dress that I once would associate with a flapper, but now I of course associate with Taylor Swift's Fearless era, especially after going to the Eras tour where that is the dominant costume. But she looks great. And she almost immediately tries to extract information about Stu. Studio 54.

[Samantha Jones]

Okay, can we discuss this? Because it's truly insane because her introduction to this topic is, well, you know, I'm a journalist, so therefore, how many women did you sleep with at Studio 54? It's like, what?

[Charlotte York]

Well, we know she hasn't done the bare minimum of Internet research about him because it's not until a later episode when she reads the Many Loves of Alexander Petrovsky or whatever.

[Samantha Jones]

I do enjoy Petrovsky's answer for her, which is what is there to remember? Martha Graham's face, Andy Warhol's wig. That's about it. I rarely think about the past. What I care about is what will happen today, tonight, what may happen tomorrow. I think this is an interesting bookend to someone like Big and certainly carries maybe least attractive behavior, which is constantly being in the past. Remember in season two there's that line about like, you know, you look back so much in relationships, you need a rear view mirror. So to have this person who has lived such a great life, seemingly, certainly in New York terms, a very fascinating life, but is so uninterested in it and is only interested in this present moment was a. Was a breath of fresh.

[Charlotte York]

And tying it back into the Marina Bromovic piece as well.

[Samantha Jones]

Yeah, too bad they make his character suck three episodes from now. I forgot how delightful he is.

[Charlotte York]

Also, one thing I've always been hung up on is he's like, do you Want fruit? And she's like, I'm not really a fruit person. Who's not a fruit person?

[Samantha Jones]

I'm not a fruit person.

[Charlotte York]

You just don't eat fruit, like in a dessert context. You never just, like, snack on a banana?

[Samantha Jones]

Not for dessert. Banana's like a breakfast thing.

[Charlotte York]

You really identify as not a fruit person?

[Samantha Jones]

Yes. Anyone who knows me. Well, that sounds.

[Charlotte York]

I feel like I don't know you now.

[Samantha Jones]

No, but my parents and Paul will tell you I don't prefer fruit. I'll have some berries for dessert.

[Charlotte York]

That's what he has. Black cherries.

[Samantha Jones]

Too sour. Too tarts.

[Charlotte York]

I don't understand this. That's crazy. You and Carrie are crazy.

[Samantha Jones]

This is about where Carrie's just like, you're so serious. Don't you know a joke? And he's like, take this banana, put it in your purse for breakfast. She's like, okay. And then he goes, is that a banana in your purse? Are you just happy to see me da dum bum?

[Charlotte York]

Well, yeah. If you're gonna demand a joke out of me, don't expect a well crafted one.

[Samantha Jones]

He's like, look, this is why I stick with the conceptual art. And that's why you are comic.

[Charlotte York]

So back at Samantha's house, she is about to have sex with Smith Jared. But she has to give him some tough love speech justifying the fact that she shaved her bush.

[Samantha Jones]

I think she doesn't want him to freak out because presumably he's, you know, been side by side up close and personal as this bush has been growing out, I imagine, over the last few weeks and months. I do love that she says that she shaved. As we know, canonically, Samantha loves a wax, but you can't bring that to your wax or you gotta deal with that on your own. But yeah, her. Her speech is, I'm a working woman and I don't have time for you to be down there searching for it. So I wanted to make everything nice and simple because in Carrie's voiceover, it's like there's one moment in every relationship where you risk letting someone know the real you. And I'm on Samantha's side. You know, sometimes white lies are okay.

[Charlotte York]

In relationships, but this white lie insinuates that his technique is bad. Which is worse than just being like, I'm sorry I don't like a full bush. I just wanted to shave and start over.

[Samantha Jones]

To be fair, that whole full bush digging around to. To find the good stuff is such a, like, Penthouse Playboy misogynistic idea.

[Charlotte York]

Is it misogynistic or is that just facts? I'm not saying it's, like, drastically easier, but it's definitely easier.

[Samantha Jones]

So Samantha had a point, is what you're saying.

[Charlotte York]

Also, I just want to put it out there that it's not as easy as women make it seem like it is. Like, I think women. It's very easy for women to go to, like, oh, this guy, like, doesn't know shit. Like, how could they not figure this out? It's like, it's complicated. I think we actually need to give men more credit than they're getting.

[Samantha Jones]

Yeah. This is the representation I need in media because from my own experience, I feel like it's presented that straight men and lesbians have nothing to discuss. But in my experience, I've seen tat you and Paul just go, like, toe to toe about. About experiences in a way that, like, I think needs to be represented more in TV and movies.

[Charlotte York]

Yeah, I agree. And if you're a straight woman who's wondering, like, what's so complicated about it? What is it like? It's like that arcade game where you're trying to shoot a deer.

[Samantha Jones]

It's harder to hit the target than you would think.

[Charlotte York]

It's harder than you would think because the deer fucking moves. That's the other thing. Like, are you moving? How much of this is your fault?

[Samantha Jones]

So let's just say that Samantha's gone back to Brazil.

[Charlotte York]

Yeah, she has.

[Samantha Jones]

What I also love about this scene is this detail that you could clearly see that Patricia Field or someone in the costume department cut Samantha's silk robe just underneath the business. Because I remember always being like, God, how'd they get a robe so perfectly short? And then in this rewatch, I realized you can see the. The seams of, like, just a freshly cut silk robe. Okay, so now Petrovsky and Carrie are at the art museum. They pull up at exactly 3:01 to see if art was alive and awake. And Carrie, ever the clumsy lady, leaves her purse in the taxi cab. But this is just an excuse to see Mikhail Baryshnikov do his Mikhail Baryshnikov thing.

[Charlotte York]

Except it's also giving Taken. Like that part where he leaps over all that garbage.

[Samantha Jones]

It felt like Liam Neeson. And Taken.

[Charlotte York]

Yeah, yeah.

[Samantha Jones]

Except that Mikhail Baryshnikov could actually jump. And no disrespect to Liam Neeson, but he can't. There's a very funny moment in either Taken two or three where Liam Neeson jumps over a fence, and it is no joke. There are 10 cuts in him Just jumping over a fence so it looks cinematic.

[Charlotte York]

But I was impressed with Petrovsky in this scene. He got that purse back. He's still got it.

[Samantha Jones]

He connects back to his joke, which I think only makes it funnier is he stops the cab, he gets Carrie's purse, and then he takes the banana he made her put in the purse out a callback. And what does Carrie say in voiceover? She says, of all my odd dates, this was number one. Excuse you. This is an excellent date.

[Charlotte York]

This is an excellent date. This is my dream date, in fact. Like how fun. They go to the gallery in the middle of the night. Very fun. Speaking of which, have you ever seen the clock?

[Samantha Jones]

I have. It was playing at LACMA one year on my birthday.

[Charlotte York]

But if you haven't seen it, this is a 24 hour video piece. You can see it during the day. You can see it in the middle of the night.

[Samantha Jones]

If you are a cinephile, but not the biggest contemporary art fan, this is very much up your alley. It's Christian Marclay, right?

[Charlotte York]

Yes.

[Samantha Jones]

For those fuckettes that live in New York. It is playing at MoMA through May 11th and it is a 24 hour video piece that shows every minute of a clock in a 24 hour span taken from films.

[Charlotte York]

Yeah. So it functions as an art piece and also as a literal clock. And it is very fun to go see it in the middle of the night. I've seen most of it. I haven't seen the chunk between like 1pm and 5pm But I've seen the rest of it and it is a truly perfect New York date.

[Samantha Jones]

So Carrie's on one to say that this middle of the night date is one of her oddest ones.

[Charlotte York]

So they leave the gallery and we see a little more of Petrovsky's Rizz.

[Samantha Jones]

Oh, yeah, I would have gone home with him. We wouldn't have gone to the gallery. As I said, I don't even like fruit, but if he offered me black cherry sweetened tea, panty dropper, I was going home with him right then.

[Charlotte York]

You would have just bent over in front of the fake Marina Abramovic.

[Samantha Jones]

That would have gotten a reaction out of her. Oh, yeah. I mean, we didn't say the bobo Marina Abramovic is there and gives Carrie a bit of a smirk. I would say, so, yeah. Petrovsky's trying to go home with her with maybe the slickest line ever, which is, I live right by her. And she goes, I thought you lived way downtown. He goes, that's near, isn't It. He talks to the cab driver in Russian. Did you feel that this cab driver kind of looked like Jeffrey Epstein from the side? Because I did.

[Charlotte York]

No, I did not make that connection.

[Samantha Jones]

So Carrie interprets his impeccable flirting skills as, you can take the boy out of Studio 54, but you can't take the Studio 54 out of the boy. Do you think people were going home with each other at Studio 54? No, they were fucking in the balcony.

[Charlotte York]

I think there is a mix of both.

[Samantha Jones]

Do you know how I know that, Chelsea? Because I watched it on the studio 54E. True Hollywood Story. So they kiss, and there's something about this kiss that, frankly, is hotter than if they had just gone home with each other. There's something about that restraint.

[Charlotte York]

Yes. And it ends with a Carrie voiceover being like. And he tasted like black cherries.

[Samantha Jones]

And then, as I said, they almost immediately ruined the character Botrovsky in part two of season six to watch the discrepancy of how charismatic he is.

[Charlotte York]

But that's also consistent with how certain characters are introduced. Like Steve, as we noted in last month's episode, is presented as a better person than he ends up being.

[Samantha Jones]

Do you think they did the opposite with Mr. Big, where he. I don't know. He's always been charismatic, but he, I guess, gains a bit of humanity towards the end of the series, for sure.

[Charlotte York]

Okay. What are you rating this episode?

[Samantha Jones]

I think 8. Manolos, as the caller asked, is this a perfect episode?

[Charlotte York]

I'm giving it nine out of ten. All right. For Bozo the Bush, for the Elizabeth Taylor reference, for the introduction of Alexander Petrovsky. This is a majorly important episode.

[Samantha Jones]

We get the culmination of Steven Miranda's love story. Although it will continue in part two of season six, Charlotte's miscarriage.

[Charlotte York]

Like a lot happens in this episode.

[Samantha Jones]

And it's very clear that this is kind of the first time we'll see Daddy MPK's tonal inclination as this will. This will become the predominant tone as the movies and then the. The next series go on.

[Charlotte York]

Okay, who is the mvp?

[Samantha Jones]

I want to say Charlotte, but Samantha. I was going to go with Petrovsky. I'm riding a Petrovsky high. Did I maybe write some Petrovsky fan fiction after watching this episode? Maybe that's for me to know and you to find out.

[Charlotte York]

See, I'm going for Samantha. Bozo the Bush was great. Seeing this woman's panic was moving.

[Samantha Jones]

Who are you voting off the island of Manhattan?

[Charlotte York]

The clown.

[Samantha Jones]

I guess I had the party Clown. Or Steve's mom. Forgetting the party clown.

[Charlotte York]

Best dressed.

[Samantha Jones]

I think Charlotte, for me, in the pink dress that we're not sure which New York designer designed.

[Charlotte York]

See, for me, it's Carrie. No question. Question.

[Samantha Jones]

In the Zondra Rhodes. Asymmetrical.

[Charlotte York]

Well, throughout the episode, I think she has good looks. Best line.

[Samantha Jones]

I think I know yours, so I'm gonna go with, I'm Bozo. The bush.

[Charlotte York]

I was going for no man wants to Grandma's. Is that what you thought?

[Samantha Jones]

Yes, it is what I thought.

[Charlotte York]

Who are you?

[Samantha Jones]

I suppose I'm Carrie, because, yeah, I would definitely be making inappropriate jokes during an art installation piece that I should definitely just be contemplating in silence.

[Charlotte York]

Yeah, same biggest trigger, the clown, but.

[Samantha Jones]

Also maybe Samantha's bush.

[Charlotte York]

Yeah, I'm going with Samantha's bush. Hottest take.

[Samantha Jones]

Carrie should have ended up with this version of Petrovsky. I don't Even think about Mr. Big when I think about this version of Petrovsky.

[Charlotte York]

This version of Petrovsky that we see for exactly one episode.

[Samantha Jones]

Correct.

[Charlotte York]

See, my hottest take is that Miranda broke up Steve and Debbie's relationship because she was jealous of the fact that Debbie wasn't an uptight, neurotic freak and was actually able to connect with his mother, which is really dark when you think about it.

[Samantha Jones]

Yeah. I was surprised how much I felt for Debbie, a supporting character who maybe has all of 12 minutes on screen throughout the course of season six as someone who, of course, has been bemoaning what was done to Steven, Miranda, their love confession. This episode didn't actually make me feel good. I felt terrible for Dr. Robert Leeds and Debbie.

[Charlotte York]

Well, yeah. And I think as a viewer, I was excited by the relationship with Robert and that put an end to a part of the show that I was actually enjoying.

[Samantha Jones]

Absolutely. And I do remember that season six begins with Miranda realizing that she's in love with Steve. But what is really shown in part one of season six is that, indeed, Miranda missed the boat. And I feel like there could have been a past lives esque, cathartic realization that Miranda has of, like, this might have been my person, but our time has passed and I need to let him be happy.

[Charlotte York]

Well, also maybe for her, it's the realization that finding someone that you love, it doesn't automatically solve all of your problems. Right. Because she thought that being able to say I love you and finding the perfect relationship would, like, put an end to all of her neurotic bullshit. But of course it doesn't. It should, but it doesn't.

[Samantha Jones]

Well, my memory of this episode is that it is this sweeping love confession akin to Mr. Big saying to Carrie, you're the one at the end of the series. But in rewatching it this time, it more feels like a panic response to your point of seeing Debbie so seamlessly fit into Steve's life. No bueno.

[Charlotte York]

Don't like it, don't like it. But love this episode nonetheless. Anywho, we will be back next week.

[Samantha Jones]

See you guys then.

[Charlotte York]

Bye bye.

[Ryan Seacrest]

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