254: Patreon Unlocked 🔓 On Sex and the City: The Movie

Summary

Every Outfit – Episode 254: "On Sex and the City: The Movie"

Original Release: January 2, 2026
Hosts: Chelsea Fairless & Lauren Garroni
Patreon Episode Unlocked

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EPISODE OVERVIEW

Theme:
Chelsea and Lauren, the pop-culture and fashion-obsessed duo behind Every Outfit, unpack their ultra-specific, unapologetic (and hilarious) takes on the first Sex and the City movie. They cover fashion, character arcs, behind-the-scenes tea, and the movie's cultural legacy with both affection and biting critique. This spoiler-filled deep dive moves through the three acts of the film, dissecting everything from iconic costumes to odd tonal shifts, conflicting feelings, and the way And Just Like That reframes the movie today.

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SECTION-BY-SECTION SUMMARY

1. Formative Experiences with 'SATC: The Movie'

(02:04–03:33)

• Both hosts recall not seeing the film together, despite being friends at the time:
  • Chelsea: Saw it opening day in Atlanta, audience was all dressed up “most flamboyant, most Carrie outfits.” (02:15)
  • Lauren: Saw it as a fashion writer in NYC, didn't notice the outfits but "no way people were not dressed up.” (02:36)
• Initial reactions:
  • Lauren: “My initial relationship with Sex and the City one is very uncomplicated. Loved it. No notes.” (02:36)
  • Chelsea: Mixed feelings, “wasn’t as coherent as the series... but I’ve seen this movie like dozens of times." (03:09)
• They clarify: If they’re harsh on it, it's because of deep familiarity, not lack of love.

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2. Three-Part Structure of the Movie

(04:24–05:58)

• The movie is described as three distinct films:
  • Part 1: From intro to the wedding (50 minutes)
  • Part 2: Mexico "Mexicoma" section (wedding aftermath, Carrie's meltdown)
  • Part 3: Post-Mexico, the prolonged third act—Carrie’s depression, friend storylines, reconciliation
• The hosts joke about talking for longer than the movie’s 2.5 hour runtime.

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3. How the Movie Came to Be (SATC History & Tea)

(07:05–08:07)

• Brief history:
  • The movie was initially planned right after the series, but Kim Cattrall reportedly declined, so project collapsed (07:05)
  • In 2007, Cattrall signed on after studio promised to produce her pet TV projects.
  • “She was second in the credits under Sarah Jessica Parker, which… is not an accident.” (07:50–08:01)
• The hosts see the seeds of later SATC content, especially And Just Like That, in how the original film was conceived:
  • “So much of how we ended up with And Just Like That... its roots are in this.” (08:01)

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4. Opening Sequence & Fashion Commentary

(08:07–14:45)

• Fergie’s “Labels or Love” plays over the opening montage; hosts playfully admit it’s their pre-show hype music (08:22)
• The opening sequence is jam-packed with:
  • Recaps for new viewers
  • “Who is the casual viewer, other than boyfriends dragged on date night?” (08:58)
  • The “labels and love” motif:
    • Lauren: “Can you have it all? Can you have labels and love?” (09:43)
    • Chelsea: “I think Fergie’s whole thesis is that like a Louis Vuitton bag has never broken my heart.” (09:54)
  • Fashion deep dives:
    • Carrie's “insane 80s dress with a massive flower”—direct copy of a Whitney Houston-worn Eugene Alexander gown (10:04)
    • Carrie’s meme-famous Nina Ricci ostrich sweater—only in montage for four seconds (11:28)
• Hosts note show's self-reference:
  • “Carrie uses everyone’s full names in her column—confirmed!” (13:31)
• Chemistry and real character backstories
  • Samantha’s character quickly summed up by “funky tasting spunk scene.” (14:45)
• Increasingly fabulous outfits; big belts for all (“big belts were not on the show as much!” 15:50–16:01)

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5. Plot & Character Analysis: Relationships and Real Estate

(15:18–18:26)

• Carrie and Big’s cohabitation: After four years, they still don’t officially live together.
• Fashion note: “Carrie in this scene ... one of the most iconic outfits ... launches the movie’s big belt obsession.” (15:39)
• Real estate scenes:
  • The soundstage apartment, Carrie’s “Barbra Streisand” humor (17:42)
  • The closet: Big says, “I can build you a better closet.”—Chelsea: “It makes me so horny if I’m being honest with myself.” (18:36–18:53)
  • “Can we afford this?” “I got it.”—Chelsea: “Incredible.” (19:04)

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6. Wedding Planning & The Friend Group

(19:45–23:21)

• Miranda worries Carrie will give up her apartment:
  • “Miranda is giving her sound advice. If she’s not married, Mr. Big … she should keep her own apartment.” (19:45)
• Samantha's entrance in yellow vintage Mugler (“so Samantha”), move to Malibu, and increasingly amped-up fashion as the film escalates from TV to big screen (20:01–20:26)
• The “Blair Elkin auction” scene, based on Ellen Barkin’s real jewelry auction:
  • Hosts discuss the woman’s fate (being cast out after 10 years) as the worst case scenario for Carrie.
  • Trivia: Samantha’s bidding paddle number originally supposed to be 69, but Sotheby’s objected (22:05)
• Lauren: “Isn’t it crazy, Chelsea, that this unseen woman’s story is the worst case scenario for Carrie?" (22:40)
• Quick theater/Broadway aside: Daphne Rubin-Vega cameo.

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7. Carrie Spirals After the Auction

(24:34–26:09)

• Carrie panics over having no legal claim to the apartment; Big’s solution: “Let’s just get married.”
• Legal humor: “If she was on the deed … or they created a living trust … there are other ways.” (25:12)
• Lauren: “In my version, credits just roll after this scene.” (26:04)
• The “proposal” is mutual decision, not traditional:
  • Charlotte’s iconic scream at the lunch announcement: “A scream that I echo. Miranda, I am now deaf.” (26:23–26:35)

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8. Fashion & “It’s Not That Funny” – Tone Reconsidered

(29:42–33:21)

• Carrie’s “no label dress” (actually Dior). Hosts praise Patricia Field’s decision-making and subtweet their disappointment at her friends’ reactions.
• Real-world and show-world fame: is Carrie a Page Six regular? Hosts debate.
• The Vogue photo shoot with Enid (Candice Bergen!):
  • Lauren: “This is the best thing I’ve ever seen.” (30:36)
  • Chelsea: “Of all the things to cut, this is the best part.” (31:59)
  • Real cameos: Demarchelier, Andre Leon Talley, Plum Sykes, Gucci Westman, etc.

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9. Wedding Gown Debate / Iconic Looks

(35:24–36:41)

• Hosts gush over the montage of wedding looks:
  • Both pick the Lacroix as their “fan cast” for Carrie’s dress.
  • Quick Vivienne Westwood product placement commentary.

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10. Relationships on the Rocks: Steve & Miranda

(38:28–42:15)

• Miranda and Steve’s marital downturn is dissected:
  • The infamous “Winnie the Poohing” sex scene.
  • Lauren: “Nothing good comes of that.” (39:59)
  • Miranda’s brusque rejection of Steve: “Let’s just get it over with. Woof.” (40:00–40:07)
• Diner scene with hilarious euphemisms (“coloring” for sex), awkward dinner frequency shares:
  • “Carrie will not reveal how often her and Big have sex. But what Carrie will disclose is that when Big colors, he rarely stays within the lines.” (41:12)
• Samantha’s present from Smith Jarrett: diamond ring in a dick-shaped box.

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11. The Closet Reveal & Product Placement

(42:30–44:04)

• The “Big builds Carrie a closet” scene:
  • Chelsea: “When you saw this in the theater, did people gasp at the closet reveal? Because I remember people, like, screaming.” (43:23)
  • Cynthia Nixon’s public discomfort with the scene’s glamorization of consumption is noted.
• Closet cleaning montage—mostly outfits we’ve never seen (and a discussion of director’s cut differences).

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12. Marriage Meltdown: Steve Cheats, Miranda Explodes

(46:52–48:19)

• Steve tearfully confesses, Miranda moves out (cut/deleted scenes described in script).
• Chelsea: “This is the first thing for me in the movie where the behavior really deviates… Miranda’s whole thing is she’s pragmatic. … is it really worth moving out, ending your marriage…?” (47:47)

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13. The Wedding Implodes

(49:00–58:07)

• Wedding expands from 75 to 200—Big’s anxiety rises; rehearsal dinner.
• Standout moment: Samantha’s toast, “Here’s to a man who finally got carried away.” (50:32)
• Miranda, devastated, tells Big, “Marriage ruins everything.”
  • Chelsea: “If your relationship is so unstable that you can’t withstand a single comment like that from Miranda, like your relationship is fucked to begin with.” (53:04)
• Wedding day chaos; Miranda’s “not fine” energy, Big’s emotional instability.
• The infamous jilting at the altar.
  • “Big leaves her at the altar. I mean, I guess not technically at the altar.” (57:01)
• Commentary on spoilers—scene was “all but confirmed” by paparazzi photos.

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14. Mexicoma: Depressed Vacay and Comic Relief

(62:28–69:45)

• The “Honeymoon” becomes a girls’ trip, and Carrie is “on suicide watch under one of those, like, Hermes throw blankets.” (61:31–61:37)
• Fashion in Mexico: “They’re in the most insane outfits when they arrive at the resort… Miranda especially looks insane. She has a wicker bag shaped like a fish…” (62:39)
• Depression montage / pudding subplot (“Charlotte is only eating pudding…?” 63:45)
• Escalating humor: “Charlotte shits her pants,” finally breaking Carrie’s spell of misery:
  • “Miranda says, yes, when something is truly funny, like your friend shitting themselves.” (69:10)
• Legendary meme: haunted Carrie in the mirror.

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15. Back to NY & the (Surreal?) Louise Subplot

(70:10–73:19)

• Carrie’s decision to hire “Louise from St. Louis” (Jennifer Hudson), reflections on the assistant’s “magical Negro” trope.
• Discussion on whether Louise is even real in the context of Carrie’s deteriorating mental health:
  • “Was Louise even a real character or was she just a figment of Carrie’s imagination?” (73:34)
• Bag Borrow or Steal reference—a time capsule for late-2000s luxury consumption.

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16. The Endless Third Act: Friend Drama, Reconnections, Closure

(74:51–107:17, highlights summarized)

• Miranda’s new Chinatown apartment and a script-draft backstory for Magda.
• Charlotte’s pregnancy storyline ("fuck this kid" joke referencing And Just Like That’s retcon), contrasted with need to keep at least one character happy.
• Samantha’s “side quest” in Malibu—sexual frustration embodied by Dante the neighbor (“He’s fucking a different girl every night”).
• Carrie’s spiral continues: brunette phase, “emotional cutter” tendencies, seeing her “Last Single Girl” Vogue issue (less kind editor’s note).
• Valentine's Day: Carrie and Miranda’s friendship is truly tested over secrets and resentment.
  • Immediately preceding Miranda’s reunion with Steve on the Brooklyn Bridge—a highly emotional moment undercut by the show's later retcons (101:09–102:51)
  • Lauren: “You want them to get together … then it feels like a betrayal ten years later when Daddy MPK is like, well, Miranda never really loved him.” (101:49)

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17. Samantha’s Breakup & Self-Love Declaration

(105:23–106:45)

• Samantha dumps Smith (who helps by arriving in a fedora):
  • “I’m gonna say the thing you’re not supposed to say. I love you, but I love me more.” (105:28)
  • Chelsea: “Yeah, no, it's great.” (105:43)

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18. Climax & End: Letters, Shoes, and All That Jazz

(108:03–115:16)

• Charlotte has her baby with Big’s help (a "fun reversal" of Natasha’s hospital scene).
• Carrie discovers Big’s flood of copied love letters in her unopened emails.
• Final reconciliation: Big and Carrie reunite, get married at City Hall (“finally a rom com!”), and have a classic girl-group lunch.
• Samantha’s 50th in the Meatpacking District; cosmopolitans return:
  • “They're drinking their cosmos. They're like, ‘These are delicious. Why did we stop drinking them? Because everyone else started.’ See, that is perfect.” (114:11)
• Carrie’s final “label” message: “...dressed head to toe in love. And that's one label that never goes out of style.” (115:01)

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NOTABLE QUOTES & MEMORABLE MOMENTS

• On why they're so obsessed:
  “If we are kicking the shit out of this movie in this discussion, it is only because we've seen it a million times.” (03:33, Lauren)
• On the film’s tone:
  “It is a fashion focused dramedy is how I would describe the tone of this movie.” (04:19, Lauren)
• On Big’s closet promise:
  “It makes me so horny, if I'm being honest with myself.” (18:53, Chelsea)
• On “Louise from St. Louis”:
  “Was Louise even a real character or was she just a figment of Carrie’s imagination?” (73:34, Chelsea)
• On the closet reveal:
  “When you saw this in the theater, did people gasp at the closet reveal? Because I remember people, like, screaming.” (43:23, Chelsea)
• On why Big and Carrie can’t be happy:
  “Daddy MPK does not know what to do with Big and Carrie if they are together and happy.” (59:49, Lauren)
• On Samantha’s self-love:
  “I love you, but I love me more.” (105:28, Samantha’s line quoted approvingly)
• On the movie’s ending:
  “They’re drinking their cosmos. They’re like, ‘These are delicious. Why did we stop drinking them? Because everyone else started.’ See, that is perfect. It’s the perfect little wink to the audience about how influential Sex and the City was. It’s perfect.” (114:11, Chelsea)
• Final verdict:
  “The film ends answering Daddy MPK’s philosophical question from the beginning, which is, can girls have it all? ... And surprisingly, Chelsea, do you know what the best label of all is? ... It’s love.” (115:00, Lauren)

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TIMESTAMPED KEY SEGMENTS

• 02:15–03:33 – Hosts’ first, separate memories of seeing the film
• 05:22–05:58 – The “three films in one” structure
• 10:04–11:39 – Iconic opening outfits and fashion history
• 18:36–19:04 – “I can build you a better closet.” / “I got it.”
• 26:23–26:35 – Charlotte’s scream at Big and Carrie’s engagement
• 29:42–31:59 – Vogue subplot, Enid’s best lines
• 35:24–36:41 – Favorite wedding dresses debate
• 43:23 – Theater reaction to the closet reveal
• 50:32 – Samantha’s “got carried away” rehearsal toast
• 61:31–62:12 – Carrie “on suicide watch” in Mexico
• 69:10 – “When your friend shits themselves” as the crucial comedic release
• 73:34 – Is Louise real? The “imaginary friend” theory
• 105:28 – “I love you, but I love me more.”
• 114:11 – Cosmopolitans and the show’s defining influence
• 115:01 – “Dressed head to toe in love. ... One label that never goes out of style.”

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FINAL REFLECTIONS

• The hosts conclude that the movie is a fascinating but flawed product of the late-2000s, with spectacular fashion, memorable one-liners, and odd, sometimes jarring emotional turns.
• They're affectionate, yet critical, particularly in the context of And Just Like That—“the dramedy vibe, with no escape in sight.” (116:26–116:32)
• The episode itself is a love letter to the ethos of Sex and the City: friendship, shopping, heartbreak, recovery, and the best label of all—love.

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Recommended for:
Superfans, fashion buffs, and anyone who wants analytic, bracingly honest, and laugh-out-loud funny discussion of SATC: The Movie. The most complete and affectionate breakdown you’ll find—less “labels or love,” more “labels AND love.”

Transcript

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[Lauren Garoni]

Shopping for late foods Shopping for love.

[Advertiser]

Manolo and Louis is all I'm picking.

[Lauren Garoni]

On Shopping for labels Shopping for love.

[Chelsea Fairless]

Already know what my addiction is I'll.

[Lauren Garoni]

Be looking for labels I ain't looking for love Shepherd P. Walks out the.

[Chelsea Fairless]

Door don't cry Find your bag and get over it hi, my name is Chelsea Fairless.

[Lauren Garoni]

And I'm Lauren Garoni. And don't we sound overjoyed to talk about our favorite film, Sex and the City one.

[Chelsea Fairless]

I am overjoyed.

[Lauren Garoni]

I am as well. I just. Sometimes I realize that our voices are so monotone that even things we genuinely are excited to talk about. It comes off as if we're being sarcastic.

[Chelsea Fairless]

Yes. But of course, we, like so many people, have a complicated relationship with this film.

[Lauren Garoni]

I think we should start with our formative experience with this movie. I think some fuckettes might be shocked to know that we did not see this movie together, even though we knew each other at this time.

[Chelsea Fairless]

No, I saw this movie in Atlanta, actually, because I was there visiting my friend Nick. And we went and saw it on opening day. We went to a matinee because we couldn't even wait to the evening screening. And it was so amazing because everyone was fully dressed up. Like everyone had their most flamboyant, most Carrie outfits on. It was amazing.

[Lauren Garoni]

Yeah. I was writing for a fashion website. I was a blogger. Chelsea Gross at the dawn of blogging and I remember we took the afternoon off, we went to the Court street movie theater. I don't remember what people were wearing, but there's no way that people were not dressed up to see this film. I mean, my initial relationship with Sex and the City one is very uncomplicated. Loved it. No notes, only in rewatches. And then my own journey into screenwriting have I been like, wait, see, I.

[Chelsea Fairless]

Had mixed feelings about it at the time. There were aspects of it that I really loved, but I feel like it wasn't as coherent as the series was. Of course. But at the end of the day, I must have actually loved it because I've seen this movie like dozens of times at this point. Whatever criticism I have of it, I guess doesn't really mean that much at the end of the day because I keep coming. Came back to it.

[Lauren Garoni]

If we are kicking the out of this movie in this discussion, it is only because we've seen it a million times. And if we're just like, I love this scene, I love this scene, it's not going to be a very interesting conversation. Also, this is my first time re watching the first film post. And just like that.

[Chelsea Fairless]

Yeah, same.

[Lauren Garoni]

We didn't know it at the time, but I feel like. And just like that tonally makes so much sense when you watch the first Sex in the City film.

[Chelsea Fairless]

Yeah, it's much more like the first Sex and the City film than the series.

[Lauren Garoni]

Did you watch this on Max?

[Chelsea Fairless]

I watched it on Hulu.

[Lauren Garoni]

I watched it on Max. And under genre it says comedy and then romantic comedy. And I'm like, dare I say, I don't think it's either of those things. It is a dramedy.

[Chelsea Fairless]

Yeah.

[Lauren Garoni]

It is a fashion focused dramedy. Is how I would describe the tone of this movie.

[Chelsea Fairless]

Well, it's hard to describe the overall tone because it's several different films in one. We've discussed this before, but this film really has three distinct parts to it.

[Lauren Garoni]

Our fear with this episode is that we are going to end up talking about it longer than the actual runtime, which we should say is two and a half hours.

[Chelsea Fairless]

I know. And that's not even inclusive of the director's cut version, which has an extra, what, 25 minutes or something.

[Lauren Garoni]

Yes. A bunch of deleted scenes are put back into the film. And it's also not inclusive, Chelsea, of something I discovered on this rewatch, which is a draft of the script that is online, which has even more scenes that didn't even make it into the shooting script. Like they were not filmed. And so I will pepper that in as we discuss the film. But our worry, and I think our hope to not talk about this movie for three hours is starting with the fact that, yes, it is three films. There are three sections of this movie.

[Chelsea Fairless]

The first part is delightful, might I say. This is the part of the movie from the very beginning until the wedding.

[Lauren Garoni]

The end of the wedding, which is 50 minutes long.

[Chelsea Fairless]

Then we have the Mexico section. Spoiler alert. The Mexicoma part of the film, which stretches, I think, from the scene in Charlotte's apartment post wedding up until they get back to New York. And then the last act, the most baffling of all, I think, because it's just. It's very long. It's a whole movie in and of itself.

[Lauren Garoni]

We don't know what to call the last section of the film because it's like, Does Carrie need SSRIs?

[Chelsea Fairless]

It's not even just the fact that Carrie is depressed. Miranda is extremely depressed. Even Samantha is, like, in her own, like, Ingmar Bergman movie in Malibu.

[Lauren Garoni]

Samantha, for most of this film, is on a side quest. While it makes sense that Smith Jarrett has moved to Los Angeles to be a television actor, they did not need to do this storyline. Like, Samantha could have stayed in New York.

[Chelsea Fairless]

She could have just gotten bored with.

[Lauren Garoni]

Monogamy, which I guess is kind of what happens.

[Chelsea Fairless]

I also find it to be a bit confusing because she comes to New York so much that we forget that she even moved to Malibu. Unless she's in the house.

[Lauren Garoni]

Absolutely.

[Chelsea Fairless]

She's like, oh, Carrie got some new light fixtures installed. Let me book a business class flight to New York immediately.

[Lauren Garoni]

And we've done this flight. It's not a short flight. They are acting like it's a hop, skip and a jump.

[Chelsea Fairless]

I don't know. I think New York to LA is a short flight.

[Lauren Garoni]

Well, compared to the travel we've done and you've done after you're used to.

[Chelsea Fairless]

The Australia flight, it's like, New York is truly nothing.

[Lauren Garoni]

How did this film come about? I remember there always being a rumor or this energy that there was going to be a film, a Sex and the City movie. After the series, when I went back and did research, I did not realize that immediately. When the show ended in 2004, they were going to do a movie. And then Kim Cattrall was like, no, thank you, and it all collapsed. Wow. Three years went by, and in 2007, the film was put back together. I think we've talked about this in various forms that the studio promised Kim Cattrall that they would produce her various television projects. And that's how she came on board to finally do the movie, to be once again humiliated.

[Chelsea Fairless]

Yeah. I also noticed that she was second in the credits under Sarah Jessica Parker, which those sorts of details are not accidents. Clearly something that was requested or perhaps.

[Lauren Garoni]

Demanded so much of how we ended up with end just like that. Its roots are in this.

[Chelsea Fairless]

Let's get into the movie. Let's get into the incredible title sequence soundtrack to Fergie's Labels or Love, which.

[Lauren Garoni]

Has been a soundtrack in my own mind. Because it is the song that we play during our live shows right before we go on stage.

[Chelsea Fairless]

Yes, we played this song during every event we've ever done.

[Lauren Garoni]

And only when you're standing backstage waiting to go on do you realize how long this song is.

[Chelsea Fairless]

I know. There's so many super califragist sexies in it. Also, it is a really great way to start the movie. But there is so much jammed into this title sequence because it's simultaneously explaining sort of where Carrie is now and also just recapping sort of all the characters and all of the major plots from Sex and the City. It's really for people who have never.

[Lauren Garoni]

Seen the show, which is funny, because I guess that is necessary. But also, who is this casual viewer? Because it does feel like a studio note of, like, what if people who've never watched the show come to the movie? But who is that person other than boyfriends that have been dragged to this on date night?

[Chelsea Fairless]

Well, Tatiana said that she watched the movie before she watched the show. So I think for younger people, they probably saw the movie first.

[Lauren Garoni]

Oh, that's interesting. You're also forgetting what is also jammed into this sequence is Daddy MPK's philosophy for this film, which is that women.

[Chelsea Fairless]

Are searching for two things, labels and love. Although Fergie song is much more nihilistic. It's like one or the other labels or love.

[Lauren Garoni]

So it's hard to say. I mean, I guess this is the. On the precipice of financial crisis question of our time, which is, can you have it all? Can you have labels and love?

[Chelsea Fairless]

Well, I think Fergie's whole thesis is that like a Louis Vuitton bag has never broken my heart.

[Lauren Garoni]

Which would have been a very interesting lesson for Carrie to have learned.

[Chelsea Fairless]

So in this title sequence, Carrie's walking down the street in this insane 80s dress with a massive flower. It was made by a brand called Cachet. It was cut short for the film, but I didn't know until I was researching this, but that dress is a direct copy of a gown designed by this guy named Eugene Alexander, who was an 80s evening wear designer. And Whitney Houston wore the original Eugene Alexander in a promotional photo shoot for one of her early albums. But the dress that Carrie is wearing is essentially a copy of that, but I did find a listing for it online. Amicord Vintage had the Cachet version a few years ago that they sold for $3,000. So I imagine that the Eugene Alexander would be the ultimate grail.

[Lauren Garoni]

Absolutely. I'm sure it is in Sarah Jessica Parker's massive Carrie Bradshaw related archive and warehouse so Kerry walks by four girls who are the 2008 approximation of Miranda, Carrie, Charlotte, Samantha, and the movie acts like there are packs of four women who constantly are roaming around together, which to be fair is a real phenomenon, especially at this time. But it's only because of the show Sex in the City, which does not exist in the world Carrie Bradshaw inhabits.

[Chelsea Fairless]

That's true. Also, we see Carrie typing in an ostrich sweater by Nina Ricci, which has since become the most recognizable Carrie Bradshaw.

[Lauren Garoni]

Meme format it has, and that was something I had assumed when the meme started popping up was from the latter half of the film when she's living by herself again, I didn't realize that it is truly a four second throwaway part of this opening montage. This episode is brought to you by Mubi, the global film company that champions great cinema. From iconic directors to emerging auteurs, there is always something new to discover. With mubi. Each and every film is hand selected so you can explore the best of cinema. Truly, every week MUBI is releasing something I love and this week is no exception because now showing in US theaters is Father, Mother, Sister, Brother, the eagerly awaited new film from Jim Jarmusch told in the form of a triptych divided into chapters set in New Jersey, Dublin and Paris, each story concerns the relationship between adult children, their somewhat distant parent or parents in, and each other. It stars Tom Waits, Adam Driver and Mayim Bialik as one family unit. Then you have Charlotte Rampling, Cate Blanchett and Vicki Cripes as another family unit. Honestly, Dream Family and India Moore and Luca Sabat rounding out this triptych. It is a funny, tender and gently moving exploration of the universal intricacies of family dynamics, so it's no surprise it won the Golden Lion Best Film Prize at the 2025 Venice Film Festival. Jim Jarmusch is intertwined with my own relationship with independent cinema and I have so Many fond memories of seeing his movies in theaters when I lived in New York. And I look forward to catching this one with Paul in a theater here in Los Angeles. Visit mubi.comfmsb for showtimes and tickets. And to stream great films at home, you can try MUBI free for 30 [e-mail] everyoutfit that's m u b I.com everyoutfit for a whole month of great cinema for free.

[Chelsea Fairless]

Also, this montage confirms a question we've always had, which is, does Carrie use everyone's full names in her column?

[Lauren Garoni]

It answers the question, are the things that we saw in the episodes her weekly column? The answer is yes. The crazier thing about this montage is it confirms that she's using everyone's real name.

[Chelsea Fairless]

Also, there's a really random part where they talk about Miranda having a kid and there's like, EPT product placement.

[Lauren Garoni]

Oh, yeah, they sort of burst everywhere. We learned that in the intervening years between the series ending and this movie starting. We know that Carrie has written Sex and the City, but she's written Manhattan and a book that I believe is called A Single Life. Question mark. I'm sorry, it should be single and fabulous. Question mark. I mean, if these are deep cuts.

[Chelsea Fairless]

For psychos like us, but Manhattan is great. Daddy MPK really snapped with that one.

[Lauren Garoni]

I would buy Manhattan.

[Chelsea Fairless]

We bought. He's just not that into you. So clearly our standards are not that high. Okay, one last thing before we move on. I love that the scene that they show to describe Samantha as a character is the funky tasting spunk scene.

[Lauren Garoni]

Right. Which is really highlighted in Carrie's voiceover where she says, year after year, my single girlfriends were my salvation. And as it turns out, my meal ticket. I'm sorry. Carrie should be paying for every lunch and every dinner.

[Chelsea Fairless]

I don't know if she needs to, though. They're all rich now. I think in the series, it seems like Miranda and Charlotte were a bit more stable, perhaps. But I think one noticeable thing about the first chunk of this movie is that it seems like Samantha and Carrie have really come up for sure.

[Lauren Garoni]

I mean, Samantha has changed careers. Careers are fluid in the world of Sex and the City. So we learned that despite four years passing between Carrie and Big getting together and where this movie begins, they do not live together. And they have been searching for the perfect place to cohabitate.

[Chelsea Fairless]

Yeah, Carrie looks really amazing in this scene. This is one of the most iconic outfits of hers from the film, I think. And I remember seeing the paparazzi photos of it before the movie came out, of course.

[Lauren Garoni]

And I think this begins Patricia Field's sartorial thesis for the film, which is that Carrie wears big belts. Actually, everyone wears big belts in this film.

[Chelsea Fairless]

Yes. But one key distinction between Sex and the City, the series and the movie is that, yes, there is a huge emphasis on waist belts in this movie. That didn't really happen on the show. Maybe on Samantha a bit, but not really on Carrie in this way. And also since Sex and the City had ended, shooties had become a thing.

[Lauren Garoni]

Shooties.

[Chelsea Fairless]

You know, a shoe boot.

[Lauren Garoni]

Oh, yes, yes, yes.

[Chelsea Fairless]

Carrie in this scene and in many scenes in this movie is wearing those Dior gladiator shoes, which also felt like a bit of a departure from the show. She had worn ankle boots, but it was just a different kind of shoe that had become popular in those intervening years.

[Lauren Garoni]

Yeah, I was gonna say it does firmly plant it in the years 2006 to 2010.

[Chelsea Fairless]

Also, of course, she is carrying the Eiffel Tower shaped Timmy woods bag that Mr. Big would later end up in.

[Lauren Garoni]

Yeah. And I think some parts of Mr. Big never left that bag.

[Chelsea Fairless]

It is really funny watching this scene, though, knowing what's going to happen to him.

[Lauren Garoni]

It's funny watching this entire film knowing what is going to happen and end just like that.

[Chelsea Fairless]

Right.

[Lauren Garoni]

Carrie says in the original series, you're always looking for an apartment, a job, or a relationship. So Carrie's got clearly, we've seen in the previous montage jobs going great still with Big. So of course they're looking for a new spot.

[Chelsea Fairless]

Yeah. And they go into some terrible, drab apartment that's really just a psych out apartment. Then they go to the penthouse and see the most insane New York apartment ever.

[Lauren Garoni]

And it is the most insane New York apartment ever because it's very clearly on a soundstage.

[Chelsea Fairless]

Also, is it just me or is the way that Carrie is acting in this scene, it almost reminds me of, like, Barbra Streisand humor. Like Barbra Streisand in Funny Girl. She's like, how could you possibly fight with this apartment? Oh, I hate it. My eyes. Like, it's very, like, it's very.

[Lauren Garoni]

What's up, Doc?

[Chelsea Fairless]

Yeah.

[Lauren Garoni]

There are moments where it does feel like Carrie Bradshaw feels like she's in her own 1960s farce comedy.

[Chelsea Fairless]

For sure.

[Lauren Garoni]

This is also where the real estate agent was like, ah, your wife has quite a sense of humor. And their real estate agent has to be like, they're not married. And then Carrie goes, he's my Boyfriend, which you're like, oh, okay, so they're not even engaged. Got it.

[Chelsea Fairless]

Whatever. Who cares? Doesn't seem to be their style.

[Lauren Garoni]

Or is it Chelsea?

[Chelsea Fairless]

So there's one problem with this apartment, which is the lack of closet space.

[Lauren Garoni]

Which Carrie posits is why the couple that is selling this apartment is getting a divorce. And then Big says the hottest thing I think Big has ever said, ever will say, which is, I can build you a better closet.

[Chelsea Fairless]

It makes me so horny, if I'm being honest with myself.

[Lauren Garoni]

Followed by the second horniest thing that Big has ever said when Carrie goes, can we afford this? And he just goes, I got it.

[Chelsea Fairless]

Incredible.

[Lauren Garoni]

But then, of course, Miranda has to yuck. Carrie's yum. We have a Charlotte and Miranda walk and talk. And of course, Miranda gives Carrie grief when she's telling the story of, like, oh, so Big's gonna own the apartment. You're not in a post. And just like that world is so fascinating because we'll learn in and just like that season two that Miranda solely owns the Brooklyn brownstone and sees no problem kicking Steve out of it. Or maybe Daddy MPK is working on so many levels. That's why Miranda's saying that to Carrie of, like, I'm the only one on. On the mortgage, on the deeds. So, like, Big, like me could kick you out at any time.

[Chelsea Fairless]

Yeah. Miranda is giving her sound advice. If she's not married, Mr. Big, she should keep her own apartment in the event that they do break up.

[Lauren Garoni]

So they meet up with Samantha, who's like a Sotheby's auction. I'll be there by morning. I'll catch the red eye.

[Chelsea Fairless]

And this is one of my favorite Samantha looks ever. She's wearing this yellow Thierry Mugler insane blazer from the she Devils collection. So good. And so Samantha, because at the time of Sex and the City, she was still wearing, like, Thierry Mugler because it was still around. But by the movie, it's like, enough time had gone by that vintage pieces of his did have more of a sort of cachet. Yeah, exactly.

[Lauren Garoni]

We also haven't discussed that at this point whether it was conscious or unconscious. Making the leap from the television screen to the big screen allowed Patricia Field to amp up everybody's style.

[Chelsea Fairless]

Yeah. So they're going to an auction, which.

[Lauren Garoni]

I always think, this woman has died. But this woman, Blair Elkin, has not died. Instead, she was a waitress turned model turned actress turned billionaire's girlfriend who came home one night to find herself unceremoniously turned out on the street. She's selling all of the jewelry that said billionaire boyfriend got her so that, I guess she can buy a place to live.

[Chelsea Fairless]

I guess. And this is based on the auction of Ellen Barkin's jewelry given to her by the businessman Ronald Perelman. Not to be confused with the actor Ronald Perlman, who played the beast in the TV movie of Beauty and the Beast. But Blair Elkin is literally an anagram.

[Lauren Garoni]

Oh, right.

[Chelsea Fairless]

Of Ellen Barkin. Like, it cuts very close to the bone.

[Lauren Garoni]

To be fair, he was married to Ellen Barkin. But I understand for narrative purposes, it has to be an unmarried person.

[Chelsea Fairless]

So they're there because Samantha wants this insane pave diamond camellia ring.

[Lauren Garoni]

All three of them are there to support their friend to buy an insane ring. Because knowing what this auction is going to, it is quite morbid. Unless you want a specific item, like Samantha does.

[Chelsea Fairless]

Samantha's auction paddle says, wait, what's the number?

[Lauren Garoni]

969.

[Chelsea Fairless]

Apparently, in the script, they originally wanted it to be 69 for obvious reasons, but Sotheby's took issue with that.

[Lauren Garoni]

Prudes.

[Chelsea Fairless]

I know. Seriously. So dumb. But unfortunately, Samantha gets outbid by someone on the phone.

[Lauren Garoni]

That's not fair. That never happens at auction houses.

[Chelsea Fairless]

So Samantha's super bummed. They go into the bathroom afterwards and start talking to this woman who basically explains the tragic fate of Blair Elkin.

[Lauren Garoni]

Isn't it crazy, Chelsea, that this unseen woman's story is the worst case scenario for Carrie? Right.

[Chelsea Fairless]

This woman dated this man for 10 years, and then he locked her out of their apartment, and she was left with nothing.

[Lauren Garoni]

And she was a real smart girl, Girl, child. Till she fell in love.

[Chelsea Fairless]

Also, I should mention that this unnamed character is played by Daphne Rubin Vega, who is Broadway famous. She originated the role of Mimi in Rent. If you've ever listened to the original.

[Lauren Garoni]

Cast recording, you might be surprised, Chelsea, but I actually have.

[Chelsea Fairless]

I am. I am very surprised.

[Lauren Garoni]

My cousin Elizabeth is a huge Broadway fan. Was obsessed with Rent, and made my grandfather take us all to the original Broadway production of Ren Boom.

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[Chelsea Fairless]

So obviously Carrie spirals after this conversation.

[Lauren Garoni]

And I was reading along with the script that I found as I was watching this film because I've seen it so many times and Big is living in a studio apartment, which we've always found very funny and puzzling. But what is describ in the script is that it is his sublet apartment. Which begs the question, has he been subletting since he moved back from Napa?

[Chelsea Fairless]

Yeah. That's insane.

[Lauren Garoni]

And also, if so, wouldn't you Upgrade to a 1 bedroom? 4 years in a studio seems a lot.

[Chelsea Fairless]

Yeah, it's crazy that he lives in a studio.

[Lauren Garoni]

I just assume that in the film's budget, they were like, we have to cut corners somewhere. Take a wall out of Big's apartment. So Carrie's concern that she confesses to Big in her own very Carrie roundabout way is that she will have no legal rights to the apartment. So she wants to sell her place and put money towards heaven on fifth. The only answer in Big's mind is like, oh, if that's your concern, let's just get married. But if she was on the deed to the apartment or, I don't know, they created a living trust together. Like, there are other ways around her having a legal right to this apartment that doesn't involve marriage. Yeah. And one can make the point that Big is gonna buy the apartment before they're married, so she won't be entitled to this apartment.

[Chelsea Fairless]

True.

[Lauren Garoni]

And so that's why in my version, credits just roll after this scene.

[Chelsea Fairless]

But they do decide to get married.

[Lauren Garoni]

Do they? Is there a proposal? I know that this is litigated at the end of the movie.

[Chelsea Fairless]

It's not a traditional prop. They agree to get married. Cari then has lunch with the girls and relays it to them.

[Lauren Garoni]

Charlotte screams. A scream that I echo. Miranda. I am now deaf. When I saw the trailer for the first time, that was a trailer moment. Loved it. When I was in the theater Loved it.

[Chelsea Fairless]

I still love it. To me, it's nice to see a.

[Lauren Garoni]

Moment of joy because we now know how depressing it's gonna get. We do need to hold on to every moment of joy in this movie. Charlotte explains her actions because her. Miranda and Carrie are at lunch together. And Charlotte goes, excuse me, my friend just got engaged and she's been going out with this guy for 10 years. Carrie and Big have known each other for 10 years. Let's say that Carrie and Big 1.0, like, season one relationship was a year. Let's say that their season two relationship also a year. And they've been dating four years after the events of Paris. They've been together for six out of ten years. Okay.

[Chelsea Fairless]

Because that's awkward to say. They've been on and off for 10 years in this context. So Carrie then takes a stroll to the DVF store and then calls Samantha with her pink Swarovski flip phone.

[Lauren Garoni]

What a great moment for Carrie. It doesn't last long, that phone. Samantha thinks that Carrie's big news is that she's gotten Botox. Understandably. So not thrilled that she'll be getting married. Married to Big.

[Chelsea Fairless]

Yeah. My favorite thing about this scene, though, is actually the fact that we get a glimpse of Samantha's office which is full of these giant magazine covers of Smith.

[Lauren Garoni]

Jared, who is on some version of a Grey's Anatomy show, makes sense for him. And Samantha is disappointed that Carrie is getting married because I think she thought that they were aligned together in people who would never get married. She even says to Carrie, oh, I put you in my file of. Of never getting married.

[Chelsea Fairless]

But she rallies for her friend. She agrees to be maid of honor. To which I say, why isn't Miranda the maid of honor?

[Lauren Garoni]

I would assume because Samantha has seniority.

[Chelsea Fairless]

I don't know. I just kind of always thought that Miranda and Carrie were actually the closest friends.

[Lauren Garoni]

They absolutely are.

[Chelsea Fairless]

So Anthony, of course, is looped in to be the wedding planner. Carrie gives him and Charlotte a little preview of her wedding suit.

[Lauren Garoni]

Her no label dress. Yes. Which is not. So no label is a Christian Dior suit, right?

[Chelsea Fairless]

Yeah, it's a Dior suit. It was in the 2008 resort collection in purple. I think Pat Field just had them make a white one for the purposes of this film.

[Lauren Garoni]

Of course.

[Chelsea Fairless]

Kind of rude that she reveals it. Then they're like, ew, this is ugly.

[Lauren Garoni]

To be fair, you would also expect respect if Carrie Bradshaw was your friend. That that's not exactly the wedding outfit she would have pulled out.

[Chelsea Fairless]

Yeah, for sure.

[Lauren Garoni]

I do think that these people need to respect Carrie and the fact that she's like, it's simple and classic. That's what I thought. I should marry Big. And it's like, yeah, that's great. And at this point, the wedding is very manageable. And I have to say, I saw a lot of myself in this part of the film as someone that planned a wedding that was supposed to be much smaller and was undergoing home renovations at the same time.

[Chelsea Fairless]

Right. So meanwhile, at Charlotte's house, she opens Page Six and the engagement is. Has been covered. This is where we learn John James Preston's full name.

[Lauren Garoni]

And is this when we get final confirmation that he's no longer a real estate developer? He is firmly a New York financier.

[Chelsea Fairless]

Yes.

[Lauren Garoni]

Him and Jeff Epstein. Carrie seems to be shocked that her engagement would be mentioned in Page Six, which again, calls into question a conversation we've been having recently as we do our rewatches, which is, how famous is Carrie? And we've always gotten the sense that Carrie is someone who frequently appears in Page Six.

[Chelsea Fairless]

I think she's just being modest. Carrie heads to Vogue. She has a meeting with Enid. I was so happy to see her re emerge in this film.

[Lauren Garoni]

I remember watching this movie and having no indication that this movie could be a bummer, because up until this point, it's hitting all of the beats.

[Chelsea Fairless]

Yeah.

[Lauren Garoni]

Of the series. And you're like, but it's the series just at a bigger budget. This is the best thing I've ever seen.

[Chelsea Fairless]

Yeah, exactly.

[Lauren Garoni]

And they're doing things that we didn't get in the series. Like Carrie is now going to be featured in Vogue.

[Chelsea Fairless]

Yes. Enid is working on the age issue. They want her to be the 40.

[Lauren Garoni]

Year old, by the way, rip the age issue.

[Chelsea Fairless]

I know Enid famously says 40 is the last age that you can be photographed in a wedding dress without the unintended Diane Arbus subtext.

[Lauren Garoni]

I give Daddy MPK a lot of shit, but this is one of the most brilliant lines he has ever written. I agree, but if you get the reference, it's funny. But even if you don't, the cadence of all those words put together are just funny. In this draft that I found, this scene goes on for longer where Enid reveals that she was once married and that she basically intimates to Carrie she married a gay man who was more interested in her Halston dress than her. And she basically asked Carrie, like, how interested is Big in the dresses you've been wearing? And she's like, not at all. And she's like, okay, you might have a shot in staying married.

[Chelsea Fairless]

Of all the things to cut, this is the best part of the movie. And it immediately cuts to the photo shoot. Even just hearing, like, the tiniest snippet of Sierra's click flash.

[Lauren Garoni]

Yeah.

[Chelsea Fairless]

Does the most insane things to me.

[Lauren Garoni]

The most legit Vogue photo shoot as well.

[Chelsea Fairless]

For a fake shoot, this is as legit as it gets. It completely looks like something that would be in Vogue. It looks like all the Sarah Jessica Parker Vogue shoots that had come out in the years before this.

[Lauren Garoni]

So Patrick Demarchelier is photographing it.

[Chelsea Fairless]

Andre Leon Talley is just, like, putting on her gloves and fluffing her dress and stuff. That's the most exciting cameo. And he has the Louis Vuitton train case that it's not even monogrammed. It says Andre Leone Talley on it. And this was one of the things that sold in his auction recently for 44, $500. Well worth the money. And I think the lot also included a separate Louis Vuitton train case that wasn't monogrammed. So bargain.

[Lauren Garoni]

Do we think that Plum Sykes is the one that is writing the article about Carrie?

[Chelsea Fairless]

Yeah, for sure. And Plum Sykes, apart from Candace Bushnell, is the closest thing to a real life Carrie Bradshaw in the 90s. So it's really special seeing her in this.

[Lauren Garoni]

For those who don't know who Plum Sykes is, she was an editor at Vogue. She was a girl about town. There's a 2000s, I think, BBC documentary you can find on YouTube where she's featured prominently. She then left Vogue to become a Chiclet writer. So she has a very parallel to Carrie Bradshaw career.

[Chelsea Fairless]

Also Gucci Westman doing Carrie's makeup. Serge Norman doing Carrie's hair. And he still does her hair. And just like that. And in her red carpet appearances.

[Lauren Garoni]

Okay, so Stanford's there, Samantha's there. I'm gonna ask something embarrassing as someone who admitted to have watched this film a thousand times. Is Charlotte there with them?

[Chelsea Fairless]

I don't remember Charlotte being there.

[Lauren Garoni]

Sorry. Charlotte.

[Chelsea Fairless]

Yeah, Charlotte. If you were there, I'm sorry.

[Lauren Garoni]

But I do know that Miranda is getting updates at her Office on her BlackBerry, which. How degrade could those images possibly be?

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[Chelsea Fairless]

Okay, can we talk about the looks? Because we see her in a bunch of different wedding gowns. What one's your favorite?

[Lauren Garoni]

I think the Dior is my favorite, but I feel like my fan cast for Carrie's wedding dress would be the Lacroix.

[Chelsea Fairless]

Yeah, same. Like the Dior is amazing, but like, no one should actually wear that apart from like a fashion show.

[Lauren Garoni]

And no disrespect to the Vivienne Westwood, of course, I got married in Vivienne Westwood myself. But that Christian Lacroix dress that Carrie is wearing feels like something that Carrie would wear more.

[Chelsea Fairless]

Or maybe the long van, you know, which was very like trendy at the time. This was like peak Elbera, El Baz, you know, jumbo pearl costume necklaces. But I also feel like that does make sense for her. And I like the fact that it's short. Yeah, but I'm with you. I would pick the Lacroix too. So the shoot goes really well. Somehow Vivian Westwood herself ends up seeing the photos of Carrie and decides just out of the blue to send her this insane gown.

[Lauren Garoni]

Vivian Westwood is also the designer in the fashion show when they go to fashion Week. So I'm not exactly sure what Vivian Westwood Blood Oath happened before the film commenced, but there's something going on.

[Chelsea Fairless]

Yeah, it's the most bizarre product placement.

[Lauren Garoni]

And just like that, Vivian Westwood kicked my little suit's ass. This is, I think our favorite scene. This is Carrie and Big in bed together in big studio apartment because Krisn spray tanned is insane. And the previous two scenes, we've seen him in the spray tan. Isn't this crazy?

[Chelsea Fairless]

No, it's not like he just got the spray tan. He hadn't showered yet.

[Lauren Garoni]

This is a sugar and bronzed 4 Chelsea.

[Chelsea Fairless]

This is like Giorgio Armani level.

[Lauren Garoni]

Yeah, it's like did Big just get back from a business trip from the Amalfi coast? What's going on?

[Chelsea Fairless]

Also, Carrie is wearing the most insane outfit to bed. She's wearing a little camisole with a bra underneath it and pearls.

[Lauren Garoni]

As we know, and by as we know, I think only the two of us remember that Carrie wore pearls to her hip replacement surgery.

[Chelsea Fairless]

She loves to wear pearls at inappropriate times. She's reading this book called Love Letters of Great Men, which my memory is.

[Lauren Garoni]

That this book didn't exist. And because of the popularity of the film, they released this book.

[Chelsea Fairless]

I know. And when I saw this, I remembered that I actually ordered it for Paul. I was gonna give it to him as a gift on your guys wedding day, but it just like never showed up or someone stole or something.

[Lauren Garoni]

The list of things that have been porch pirated from your front door that are so not worth it.

[Chelsea Fairless]

I know.

[Lauren Garoni]

So Carrie is late in returning this book. She goes to the public library, she sees a wedding happening and just like that, she's having a big ass wedding.

[Chelsea Fairless]

She's also wearing a very chic pro and the schooler outfit that I remember being like major at the time or it was a successful collection for them.

[Lauren Garoni]

This is a scene I call Miranda and Steve. Shit's not great.

[Chelsea Fairless]

Yeah. She doesn't have as glamorous of a life as the other girls, clearly.

[Lauren Garoni]

No, but it seems fitting for the life that she leads as a woman that works in Manhattan, lives in Brooklyn and has a five year old child.

[Chelsea Fairless]

Yeah.

[Lauren Garoni]

So Miranda and Steve are at dinner with Magda and Brady. The vibe is not great.

[Chelsea Fairless]

Miranda is clearly frazzled and overworked. Steve is annoyed that she's making Magda work because Brady has to like go to the bathroom or is having a tantrum or something.

[Lauren Garoni]

This conversation has been happening between you and I of like, is Steve beneath Miranda? But I don't think Miranda marrying someone that's as big of a workaholic as she is would lead to a successful relationship either.

[Chelsea Fairless]

Oh, of course not.

[Lauren Garoni]

So Miranda takes a sip of a cappuccino that seems to be a cappuccino from Central Perth work because she gets foam all over her lip, which Steve, I would say in a cute way tells her she's got foam on her lip and she's like, you're always criticizing me.

[Chelsea Fairless]

She's in a rough spot. Clearly.

[Lauren Garoni]

What could make things better than attempting to have sex?

[Chelsea Fairless]

Yeah, this sex is not hot.

[Lauren Garoni]

It's not hot for a multitude of reasons. One, the T shirt. Well, Yeah, I mean, Steve is Winnie the Pooing. And as I like to say, which is he's naked from the bottom down and wearing a shirt.

[Chelsea Fairless]

Miranda's Winnie the Poohy knit also, isn't she?

[Lauren Garoni]

Yeah, that to Winnie the Pooh squared.

[Chelsea Fairless]

Nothing good comes of that.

[Lauren Garoni]

And then secondly, Steve is like, don't come yet. And she's like, let's just get it over with. Woof.

[Chelsea Fairless]

To be fair, she does have to get up in four hours.

[Lauren Garoni]

I am not exactly sure how. It's 2am and they're just fucking now, but fine. So Steve, as he walks away really looking like Winnie the Pooh. You see his bare ass. Chris Noth never see his bare ass. Ass, Steve. I've seen his bare ass a lot.

[Chelsea Fairless]

His ass is great.

[Lauren Garoni]

It's a good ass. Miranda, you should want to have sex with him. So all the girls are at the diner. We have our first diner scene. Bless. This diner still exists. It has survived the financial crisis. And Lily's there with them. And she's in a phase where she's repeating everything. So they have to refer to sex as coloring. Because Miranda asks, how often do you guys have sex?

[Chelsea Fairless]

So Miranda and Steve haven't had sex for six months. Charlotte and Harry have sex two to three times a week. And Carrie will not reveal how often her and Big have sex. I'm guessing it's less than Harry, but more than Miranda. But what Carrie will disclose is that when Big colors, he rarely stays within the lines.

[Lauren Garoni]

What does that mean? Does that mean kink? Does that mean analysis?

[Chelsea Fairless]

Right after this, we see Carrie come home to Big and they fuck outside on the balcony.

[Lauren Garoni]

Maybe.

[Chelsea Fairless]

Possibly. So maybe it's just about outdoors.

[Lauren Garoni]

Sure. So we get our first appearance of Smith Jared. I will say one of my low key complaints about this film, not enough Smith Jarrett in it.

[Chelsea Fairless]

Really?

[Lauren Garoni]

Yeah.

[Chelsea Fairless]

That's your complaint?

[Lauren Garoni]

I said it was low key. It's lower on the list.

[Chelsea Fairless]

Jason Lewis was never the strongest actor, but it appears that his capabilities have diminished even since the show ended. Oh, don't you think?

[Lauren Garoni]

I don't know. He's so rarely on screen, it's hard to make an assessment. So we learned that he bought the ring at the auction for Samantha, which she wants to make sure. This is not a proposal. It is simply a ring with diamonds, not a diamond ring. And he says it's. It's a ring with diamonds and it's to celebrate their fifth anniversary.

[Chelsea Fairless]

Also, I love that he presents it to her in this dick shaped box. Shout out to whoever had to source this dick shaped box, do you think.

[Lauren Garoni]

Jason Lewis put that in his own boxer shorts or the wardrobe assistant had to do that?

[Chelsea Fairless]

God only knows.

[Lauren Garoni]

Okay, we're back on Heaven on fifth because Big is showing Carrie the closet. Did you clock that Carrie has a Birkin now?

[Chelsea Fairless]

Well, she has more than one. She has a green one in this scene. Then we saw the one, you know, the Heather Graham of it all, whatever that episode was. So she has at least two that we know of. I gotta say, the closet's kind of ugly.

[Lauren Garoni]

Oh, Big Building her a closet is. It really is the sexiest thing a man can do.

[Chelsea Fairless]

No, I agree. But I love that she clearly had no input in the closet because it is a complete surprise to her.

[Lauren Garoni]

I'm now realizing as we sit in my closet recording this episode. Paul technically did design the closet for me.

[Chelsea Fairless]

Wow.

[Lauren Garoni]

But my question is, where is the clothing? It's a very shoe centric closet. Understandably so. But I'm like, Carrie has a lot of clothing too.

[Chelsea Fairless]

When you saw this in the theater, did people gasp at the. At the closet reveal? Because I remember people, like, screaming.

[Lauren Garoni]

Yeah, that sounds about right. There was, like, applause.

[Chelsea Fairless]

And I remember Cynthia Nixon said something once in an interview where she was upset that the audiences had that response to the scene just because it, of course, is glamorizing consumption and. And whatnot.

[Lauren Garoni]

Over consumption.

[Chelsea Fairless]

Okay, let us have this fictional closet.

[Lauren Garoni]

Let us have this fictional closet. But it's not like Carrie was some working class girl and all of a sudden, once it leaped to the screen, she's a completely different person.

[Chelsea Fairless]

True.

[Lauren Garoni]

So Carrie sells her apartment. Miranda and Charlotte are there to help her clean out her closet. Samantha, of course, is like, let me hop on a plane. I'll be right back, guys. And we get a closet montage of Carrie cleaning out her closet. Samantha puts on the best of the 80s and walk this Way plays. And I know from Sex and the city two these women met in the 80s, but my context for. For these women and their friendship is in the 90s. So, like, where's the Sheryl Crow?

[Advertiser]

Okay.

[Chelsea Fairless]

But I think a lot of the clothes she's trying to get rid of are from the 80s. Although this is one of those scenes where the director's cut has an extended version of this scene. Again, not sure why this was the thing that was cut, because it is so delightful. In the theatrical version, you only see Carrie trying on these outfits. But in the actual extended version, you see all of the girls trying on her clothes, including Lily.

[Lauren Garoni]

Yeah, I was gonna also Ask you thoughts on the majority of these outfits being things we've never seen before?

[Chelsea Fairless]

Oh, I think it's fine. I think the idea is that they are from the 80s.

[Lauren Garoni]

The end of the montage, there's a voiceover from Carrie. She says it took four friends three days to put 20 years into 28 boxes. And this would be an incredibly potent scene if we didn't end up seeing this bitch move out of this apartment.

[Chelsea Fairless]

Two more times the amount of Manhattan mini storage spawn that is in this film.

[Lauren Garoni]

I mean, throughout Sex of the City, end to end. Just like that.

[Chelsea Fairless]

Yeah, it never stops.

[Advertiser]

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[Lauren Garoni]

So Steve cheats on Miranda.

[Chelsea Fairless]

Whenever I see this scene come up, I'm always screaming at the TV like, steve, shut the up. Don't do it, Steve.

[Lauren Garoni]

Well, he also looks as stricken as Benicio del Toro in 21 grams, as if he ran over a family on his way home.

[Chelsea Fairless]

No, it's so, so true.

[Lauren Garoni]

In the draft that I read, there are three scenes in between this scene and the next scene where Miranda's talking to the girls. Where Miranda takes Brady, shows up at Big's sublet studio, takes Carrie into the bathroom. Big has to entertain Brady, which is something we don't see even in this, this scripted version. Miranda explains to Carrie what happened. Explains that it's someone at Scout. Who is this chick? Is it just a chick at the bar? And the answer is yes.

[Chelsea Fairless]

This is the first thing for me in the Sex and the City movie where the behavior really deviates. From what I understand the character to be, because Miranda's whole thing is she's pragmatic. What makes more sense here? Like, like your man had a. A one night stand. I'm not saying I wouldn't be incredibly hurt and jealous and, and all that stuff, but like, is it really worth moving out, ending your marriage and making little Brady shuffle between Brooklyn and Chinatown?

[Lauren Garoni]

He only did it the one time. It is quite an abrupt reaction.

[Chelsea Fairless]

And she says it's not even the sex, it's the line and the sneaking around. It's like he. What line and sneaking around. It seems like he did it and then came home and told you.

[Lauren Garoni]

This is Miranda's reasoning of why she will not talk to Steve for six months. Which also flies in the face of Miranda as a character. Like, that's insane behavior. And then 13 years later, she will have a full blown affair on Steve with Che Diaz.

[Chelsea Fairless]

Yeah.

[Lauren Garoni]

And then seems annoyed that he's mad at her.

[Chelsea Fairless]

I think Megan the stallion's right. I think she is really torturing this man. So Carrie's wedding is spiraling out of control. It's gone from 75 people to 200 people. Her and bigger talking about it right before the rehearsal dinner. And he's like, 200 people? What the? Like, how's this gonna make me look? This is my third wedding.

[Lauren Garoni]

Let's put that into context, as I wish Carrie would have. You are 50 something and this is your third marriage. You got married presumably in your 30s. Your second marriage with she who Shall Not Be Named was six months or seven months. And then you went on like a almost decade long period where you weren't married. Again, like, seems fine, especially for a Manhattan finance bro.

[Chelsea Fairless]

Yeah, so true. So now we're at the dinner. Samantha looks incredible.

[Lauren Garoni]

This is why Samantha was made the maid of honor.

[Chelsea Fairless]

Carrie knew that she would turn out a good look for the rehearsal dinner. She's in this insane, seedy, green studded asymmetric gown.

[Lauren Garoni]

Samantha says in her speech that she knows it's a tradition at rehearsal dinners for the maid of honor to reveal embarrassing things about the bride. Is that true? That's not very charitable. Thankfully, you didn't do that to me.

[Chelsea Fairless]

I think that's true. Yeah, for sure.

[Lauren Garoni]

But Samantha goes on to say, but in our group, we never kiss and tell. And it's like Carrie literally says in an opening voiceover, not only do you guys kiss and tell, she has profited.

[Chelsea Fairless]

Off of it, but she has the great line. Here's to a man who finally got carried away, which I did use in my speech at your wedding.

[Lauren Garoni]

I'm surprised you didn't, word for word, just take Samantha's speech.

[Chelsea Fairless]

I contemplated doing that.

[Lauren Garoni]

Does Big only have asshole friends? Because there's a guy at this rehearsal dinner keeps interrupting Samantha until she yells at him. Which reminded me of the jerky guy that Big hangs out with in season two that, like, tells off Susan. Sharon.

[Chelsea Fairless]

Well, I think it's assumed that he's probably hanging out with some shady characters.

[Lauren Garoni]

Or he has no friends, which I think is the case towards the end of this movie.

[Chelsea Fairless]

Well, we know he has no friends because he spends New Year's Eve alone. But I'm getting ahead of myself. So my favorite part of this movie is actually when Samantha smokes cigars outside with Harry, Big and Smith. Jared.

[Lauren Garoni]

This is what I want from a Sex and the City film. Or. And just like that, I want combinations of people that we did not see in the series hanging out together.

[Chelsea Fairless]

And it makes so much sense for Samantha. She's broing down with her boys. It's cute. Until Steve shows up. He shows up because Miranda is not taking his calls. He can't talk to her. Samantha goes and gets her. Miranda is, of course, pissed. She says, I changed who I was for you.

[Lauren Garoni]

She doesn't let him get two sentences out before she screams, you broke us. And then, yes, I changed who I was for you. Her overreaction is so crazy that it's like, whoa, girl, I think you might need help.

[Chelsea Fairless]

Well, to be fair, she's avoided having this conversation for a long time. So this is maybe the first time they're talking about it since the original confession.

[Lauren Garoni]

That's a really heady question. I changed who I was for you. Which could be Miranda's storyline, her arc for this film, but it really isn't Touched after this point.

[Chelsea Fairless]

Yeah, she's like, oh, I guess I actually am. This bitch is where she ends up at the end of the movie.

[Lauren Garoni]

I think it's very touching that Big is waiting for Miranda to make sure that she's okay after this conversation. I do love that Miranda, unlike me, doesn't pretend like she's fine. She's like, no, I'm not okay, and then delivers the two most devastating lines that take this film off course for the next hour and a half. You two are crazy to get married. Marriage ruins everything.

[Chelsea Fairless]

But to be fair, if your relationship is so unstable that you can't withstand a single comment like that from Miranda, like your relationship is fucked to begin.

[Lauren Garoni]

With, this woman is clearly projecting. After a very Emotionally charged conversation or at least sharing this with your soon to be wife. But I get it. We wouldn't have the rest of the movie if this didn't happen. But, you know, I think as we. The older we get and the more we rewatch this, we realize how emotionally constipated these people are.

[Chelsea Fairless]

Yeah, and I'm definitely on Miranda's side here.

[Lauren Garoni]

I mean, I'm on Steve's side, but we can litigate that towards the back half of the movie.

[Chelsea Fairless]

I'm on Miranda's side in the Miranda's versus Carrie of it all that we get into later in the film.

[Lauren Garoni]

Sure.

[Chelsea Fairless]

They're back at Charlotte's apartment. They're having a silk pajama girls night. So big calls and is clearly like on the verge of having a menti be. Well, also the fact that he's writing his vows after the rehearsal dinner, that's a red flag.

[Lauren Garoni]

Well, the fact that he doesn't have his assistant or Raul just write his wedding vows is one thing. But it's funny that Cynthia Nixon, who is an incredible actress as Miranda in this scene, isn't acting as if she said something super fucked up an hour and a half ago. She's just sort of like, la dee dah.

[Chelsea Fairless]

Well, she was probably just like, yeah, I randomly unloaded on Big. She probably wasn't thinking anything of it. Why would she think that he was.

[Lauren Garoni]

Majorly unstable, that he would take her devastating words seriously.

[Chelsea Fairless]

So Carrie talks him off the ledge. She's like, baby, don't worry about this wedding. Like, it's just you and me at the end of the day.

[Lauren Garoni]

Well, it's not just a little bit of nerves. He's like, is this something we really want to do? My dude, you've gotten divorced after seven months already. To Natasha, it's not the most devastating thing in the world.

[Chelsea Fairless]

It's not like you really believe like marriage is forever or whatever. The next day, it's the wedding day. Finally. It's never not shocking to see Miranda's hair at the wedding. This is the opposite of whatever Miranda's gender is as I understand it.

[Lauren Garoni]

I would say these dresses, other than oddly, Charlotte's dress, Charlotte wearing black. Not what I would associate what Carrie would put her bridesmaids in.

[Chelsea Fairless]

Yeah, but they're all Zac Posen. They're fun. I get it. I like that they each have their own color. I think think it's cute. I think Patfield did a good job with. With this whole situation. It was just Miranda's hair. Something happened there.

[Lauren Garoni]

Yeah, that's what. What went wrong with Carrie's wedding.

[Chelsea Fairless]

That's what ruined the whole thing. Big's freaking out. He's calling Carrie, but she doesn't have her phone because Lily has her phone and that she hangs up on him. She puts the phone in her cupcake bag.

[Lauren Garoni]

Her Judith Lieber cupcake bag.

[Chelsea Fairless]

Right? Yes. And Big can't get through. I guess he doesn't have Miranda's number or, you know, Anthony's number that he'd be a good person to call.

[Lauren Garoni]

Well, the fact that Anthony, as we learn at the wedding venue, doesn't have Big's number. The wedding planner doesn't have the groom's phone number. Also, why is Big alone? Big has no friends. Where is Big's brother? We learned it. And just like that, Big has a brother. This is the other failure of the film. Just narrative aside, you have this opportunity to expand the world in a way we haven't seen in the series. We don't get Carrie's mother.

[Chelsea Fairless]

Yeah, but we understand why they're avoiding that.

[Lauren Garoni]

Well, who are these extra hundred people that have been invited?

[Chelsea Fairless]

Chelsea, I think the Bigger missed opportunity was not bringing back more random side characters. At the rehearsal dinner we got Bitsy Von Muffling, which we forgot to mention, who doesn't even get aligned, but only Bitsy Von Muffling.

[Lauren Garoni]

Bobby Fine was not available. I mean, what else is there to say? Big leaves her at the altar. I mean, I guess not technically at the altar.

[Chelsea Fairless]

On the steps she calls him. He's like, babe, I. I was there. I left. I can't do this.

[Lauren Garoni]

And she understandably drops the phone and.

[Chelsea Fairless]

Is like, get me the fuck out of here. And they rush her out into the limo and Big and hers cars pass each other.

[Lauren Garoni]

He has Raul do a UI on a one way street to catch up with her because he's like, oh shit, what was I thinking?

[Chelsea Fairless]

To be fair, he did just freak out for a moment there. By the time that like the cars catch up to each other, he's like, whoa. Like I fucked up. Like, let's do this.

[Lauren Garoni]

But the last 10 years of trauma comes up when Carrie goes, I knew you were going to do this. Whoa.

[Chelsea Fairless]

Well, he's the ultimate unattainable guy. And she clearly sensed when she talked to him the night before that this was maybe on the table, but she didn't want to think about it.

[Lauren Garoni]

Well, who would?

[Chelsea Fairless]

Yeah, it's your worst fear being realized.

[Lauren Garoni]

Because they could not help but shoot this sequence in public around Bryant park, at the public library. This Storyline was all but confirmed through paparazzi photos that something was going to happen. I mean, you saw paparazzi photos of Sarah Jessica hitting Krisnath with flowers. They tried to throw people off. Right. Kim Cattrall wore a wedding dress. It was photographed at that location. A wedding dress, but no one believed that.

[Chelsea Fairless]

Yeah, I think they also shot different versions of the scene with the wedding bouquet and stuff. And in one of them they, like, made up.

[Lauren Garoni]

But I remember for not finding this storyline shocking in the theater, I do wonder if the choice to do this is a valid storyline. Obviously, it's the storyline that they did for this film. But Big leaving her at the altar doesn't really have any stakes to it.

[Chelsea Fairless]

What do you mean?

[Lauren Garoni]

As opposed to, okay, they do get married. They end up going on a honeymoon through hijinks. The girls end up with them on their honeymoon in a fabulous European city. And Carrie contemplates, what does it mean now that she's a married woman?

[Chelsea Fairless]

It is cruel. It's Michael Hanicky esque that they chose to do this to us and to Carrie.

[Lauren Garoni]

I would say that Big has left her again. But as we've recently discovered, the two times they've dated, Carrie left him both times. So he's really only done this to her once. But I guess my point is him leaving her at the altar, it just basically restarts the movie at minute 55.

[Chelsea Fairless]

Yeah.

[Lauren Garoni]

Daddy MPK does not know what to do with Big and Carrie if they are together and happy.

[Chelsea Fairless]

Right.

[Lauren Garoni]

And I realized this when Big died. Spoiler alert. And just like that. And I didn't really feel anything because we've rarely seen them happy as a functioning couple.

[Chelsea Fairless]

Okay, you didn't feel anything? I definitely felt something.

[Lauren Garoni]

No, it was sad, but I was like, okay, he died. I'm ready for the storyline to go on.

[Chelsea Fairless]

For sure. For sure. So we get Charlotte's finest acting moment, perhaps ever. Briefly in this scene where Big's trying to come after Carrie and Charlotte just says, no.

[Lauren Garoni]

You want to reload on some natural wine?

[Chelsea Fairless]

Sure. Now that we're getting into part two of the film.

[Lauren Garoni]

Yes. We've brought drinks with us. There's a tray next to us. There's a bucket of ice. We have mixers. Anyway, we were lucky enough to interview Kristen Davis in 2018 for the anniversary of Sex and the City. And we asked her about this scene because she's so incredible in it. She said that Michael Patrick King's note was like, just get him to stop any way possible. And that's what she did. And it's brilliant.

[Chelsea Fairless]

But it's so good because there's this immediate pivot to comedy when she then tries to angrily waddle away in this very constrictive Zach Posen mermaid gown that she's in.

[Lauren Garoni]

It also tells you the period of time we're in. Because this is right before the moment where celebrities or high profile people realize that they should just get sprinter vans when they are in these types of gowns.

[Chelsea Fairless]

True.

[Lauren Garoni]

Okay, so they all go back to Charlotte's place.

[Chelsea Fairless]

Carrie is on suicide watch under one of those, like, Hermes throw blankets.

[Lauren Garoni]

I love that. Miranda immediately tells Charlotte about what she said to Big the night before. And Charlotte's like, no, I don't think that had anything to do with it.

[Chelsea Fairless]

It's like.

[Lauren Garoni]

I mean, it had a little bit to do with it.

[Chelsea Fairless]

Yeah. But she's correct in that now is not the time to tell Carrie about this.

[Lauren Garoni]

This.

[Chelsea Fairless]

So Carrie and Big are supposed to go on a honeymoon that Carrie paid for as a surprise. This I don't understand. She's like, I paid for it on my credit card to surprise the man who jilted me. Big just thought you guys were going home after the wedding.

[Lauren Garoni]

I was like, is a beach resort in Mexico Big style? I feel like he'd be a Turks and Caicos kind of guy.

[Chelsea Fairless]

Yeah, I don't know. Anyway, this is all to say that they can't cancel the reservation. So all the girls decide to go together.

[Lauren Garoni]

What must Miranda's PTO look like? Death in the family. Must go to Mexico for a week.

[Chelsea Fairless]

Look, if she doesn't go to Mexico, Carrie may kill herself. Is basically what Samantha says in so many words.

[Lauren Garoni]

Is Samantha incorrect?

[Chelsea Fairless]

So they fly to Mexico. They're in the most insane outfits when they arrive at the resort, which they've presumably flown in. Miranda especially looks insane. She has a wicker bag shaped like.

[Lauren Garoni]

A fish, which will come in handy in a second. So we have to me an evergreen reaction meme which is Carrie looking haunted in the mirror. Which we have used every time something especially upsetting politically has happened. Happens.

[Chelsea Fairless]

Then she basically just goes in her room and. I don't even know how to describe this. It's a depression montage.

[Lauren Garoni]

Well, she at the very least sleeps for 48 hours straight. Culminating in Samantha having to spoon feed her.

[Chelsea Fairless]

I know when Samantha comes in with the tray every time, I'm like, this isn't about to happen.

[Lauren Garoni]

If there is a white whale of a plot point in this film, it's the fact that Charlotte is only eating pudding at this resort?

[Chelsea Fairless]

Yeah. She's afraid of getting food poisoning despite the fact that she's at a five star resort.

[Lauren Garoni]

Pudding that she presumably found in the resort because she's like, it's the only thing with a US label in the cabinet.

[Chelsea Fairless]

I just assume she brought it from New York.

[Lauren Garoni]

After a few days, Carrie finally joins all of them. It seems like between Miranda, Charlotte and Samantha, without bummer Carrie, it's probably a vibe outside for the first couple days.

[Chelsea Fairless]

Although Samantha is bullying Miranda because of her pubic hair.

[Lauren Garoni]

This is wild. There are two scenes with Samantha. One that happen in the series. She tells Carrie not to do that about when Carrie's eleven show because she's upset about burger or something. Like, it's a weird dog with a bone thing where it's like, let it go. Okay? This is a weird complex. And she has that with.

[Chelsea Fairless]

With Miranda, it's fine. Like she can make one offhand comment that's funny. But she really like relentlessly bullies Miranda to the point that Miranda like storms away. But you can't take it seriously because she's wearing wedges now.

[Lauren Garoni]

Miranda gets upset, understandably so. But one of the things she shouts at Samantha was like, oh, I let the sex go out of my marriage, so I deserve to get cheated on. It's like, well, no, no one deserves to get cheated on. But like, like the fact that there's no introspection about things you possibly did that caused Steve to step out on the marriage is a little puzzling.

[Chelsea Fairless]

Right. But Samantha's basically like, you've let yourself go. So of course it's not crazy to relate that back to your own marriage.

[Lauren Garoni]

I mean, look, she could have shut Samantha down being like, Steve loves a huge bush.

[Chelsea Fairless]

I bet he does.

[Lauren Garoni]

Carrie wants to go to dinner because she needs something that will get her out of her Mexicomi.

[Chelsea Fairless]

It's a Mexicoma babe. Yeah. She's wearing a rainbow McQueen butterfly dress, which is so beautiful. Although the way that this sort of like late era McQueen, like digital animal print textiles then trickled down to fast fashion makes me sort of hate the way that all of this looks now. I think that not enough time has gone by.

[Lauren Garoni]

It's giving Zara spring summer collection more than archival McQueen.

[Chelsea Fairless]

Yeah. Looking at it now, looking at it now, we can't blame our boy for being so influential.

[Lauren Garoni]

The dialogue in this scene is very interesting and there are interesting philosophical questions that I would love for them to spend time dealing with with Carrie, but not in this film. That was sold as a fun romper because she has this line where she's like, after 20 years of everything I've learned, I threw it all away for the thrill of putting his name on the honeymoon suite. If I met me now, I wouldn't know me. Which is incredibly existential. But it's like, hi, can we go back to the, like, shopping for diamonds or something?

[Chelsea Fairless]

Although we do get one very fun, iconic line in this scene, which is, the good guys screw you. The bad guy screw you, and the rest of them don't know how to screw you. Yeah.

[Lauren Garoni]

And that's the last fun moment of the scene because then Samantha joins in with Carrie where she's like, how did I let my life revolve around a man?

[Chelsea Fairless]

Yeah. She's like, I say his name 50 times a day. It's like, well, you are his manager.

[Lauren Garoni]

And it seems like that was a good career move for you. You know, maybe don't just have the one client.

[Chelsea Fairless]

So I guess while Carrie's been depressed and in her room, Samantha and Miranda have been trying to deal with getting her apartment back, getting her stuff moved back in, because she did sell her apartment.

[Advertiser]

Yeah.

[Lauren Garoni]

And Carrie has this line where she's like, wow, you two could rule the world. This is what I want from the film. Characters teaming up and going on side quests together. Yeah, I actually do have beef with Daddy Mpk personally about this. Charlotte finally relaxes. She's taking a shower outdoors. She momentarily takes in some of the shower water, immediately spits it out. And then, as she rushes back to the villa, shits herself.

[Chelsea Fairless]

She Poughkeepsies in her pants.

[Lauren Garoni]

I have always believed that this is because she has been eating nothing but pudding for a week. And when I asked this to Daddy MPK in 2018, when we were able to interview him at this 20th anniversary event, I put this question to him, and he said, no, it's because of the water she gulped. I feel like he's gaslighting me because she didn't swallow any of that water. She spit it out.

[Chelsea Fairless]

And she's been eating nothing but pudding for days.

[Lauren Garoni]

Pudding that she found in a cabinet in this village. I understand Charlotte's fear, but after day two where your friends aren't vomiting and having Montezuma's revenge, while wouldn't you relinquish and be like, let me have some of the resort food. One would think this is all to get us out of the Mexicoma. Because Carrie finally laughs. Carrie wondered at the beginning of the trip would she ever laugh again. And Miranda says, yes, when something is truly funny, like Your friend shitting themselves.

[Chelsea Fairless]

Which is truly funny. But before Carrie leaves Mexico, she goes on, like, a solo golf cart drive to some cliff. I'm like, is she finally going to end it all?

[Lauren Garoni]

I like to think that Samantha is in a golf cart. We don't see this. But slowly trailing her, just to make sure that Carrie doesn't drive off into the ocean.

[Chelsea Fairless]

But she checks her phone and Big has. Has called her. So she dramatically throws the phone into the ocean. I love this scene. I love the way the waves lap against the glittering phone. Case.

[Lauren Garoni]

Case, rip, phone. Now we're back in New York. I rewatched this film in two parts. Ciao. As you know. And this was the moment I had sent you a screen cap, where I went, I've been watching this film for over an hour. How is there still more than an hour left in this movie? This I feel like we can go through quite quickly. Carrie moves back to New York. She hires an assistant.

[Chelsea Fairless]

Yeah. And she interviews a bunch of potential assistants at the now defunct Aster Place, Starbucks, including Bridget Everett, who it feels like she should have been in Sex in the City, but was never in Sex in the City. She is, of course, in the Daddy MPK universe because they did that Amazon pilot together that never got picked up. And I saw that she did come to the end, just like that premiere. And she was in that. That Amy Schumer sketch where she played a woman who did the, like, Sex in the City bus tour.

[Lauren Garoni]

The good sex of the city bus tour.

[Chelsea Fairless]

Yeah.

[Lauren Garoni]

As opposed to the cheap bus tour that Steve Centric that Amy Schumer's character buys tickets for.

[Chelsea Fairless]

Yeah. It's fun to see her. But the Princeton guy with the high heels.

[Lauren Garoni]

Yeah, that's what I was gonna ask. I think I would have gone with Bridget Everett as my assistant. Would you have gone?

[Chelsea Fairless]

Look, I get it if he's, like, straight and he's just wearing heels because he's, like, getting off on it. Like, don't hire him. But if this is just their gender expression.

[Lauren Garoni]

But instead, she goes with Louise from St. Louis. Because Carrie is taken by her designer.

[Chelsea Fairless]

Bag, that Frankenstein Louis Vuitton bag, which I feel like was one of the first, like, really ridiculous designer bags.

[Lauren Garoni]

Yes.

[Chelsea Fairless]

But now so many bags are like that.

[Lauren Garoni]

I do like the reveal that Louise is like, oh, I got this from Bag Borrow Steel, which. That's not a fake name. Right?

[Chelsea Fairless]

I think that was an actual website. I don't know if it still exists, though.

[Lauren Garoni]

There's no way that it does. But I do like this Reference because it's such a specific period in time that was heavily influenced by Sex and the City. A company like Rent the Runway or Bag Borrow Steal only exists because of the show Sex in the City and this idea that people need to constantly be in proximity to luxury items.

[Chelsea Fairless]

Yeah, but Jennifer Hudson, I think she's a fun addition to this film. Although we touched upon the magical Negro trope last month when we discussed Whoopi Goldberg's character and Girl Interrupted. And this is a similar vibe. I mean, Louise doesn't really serve any narrative purpose beyond making Carrie a more evolved person and helping her heal from her trauma and whatnot. There was a lot of criticism of this character when the film came out.

[Lauren Garoni]

Understandably so, because later in the film, Carrie's like, you brought me back to life. And it's like, how. Because she built you a website. Yeah.

[Chelsea Fairless]

Because you never answered an email for six months.

[Lauren Garoni]

Which seems in line with Carrie Bradshaw in general.

[Chelsea Fairless]

Should Carrie have an assistant? Why does she have an assistant beyond her move? What is Louise doing on a day to day basis? Like, once she's fixed up Carrie bradshaw.com.

[Lauren Garoni]

No, Carrie doesn't need an assistant.

[Chelsea Fairless]

Like, how does she have an assistant in the fact that she does have an assistant is one of those details that makes me feel like, wait, what am I watching?

[Lauren Garoni]

Well, what Carrie really needs is a task rabbit. Because she decides she needs an assistant when all of her boxes arrive at her house and she's like, I simply cannot unpack. And I think this is further proven by the fact that Carrie never gets an assistant again.

[Chelsea Fairless]

Was Louise even a real character or was she just a figment of Carrie's imagination? Because we never see her interact with one other person in Carrie's life, do we?

[Lauren Garoni]

I think you're correct.

[Chelsea Fairless]

Like when Carrie and Louise are at Cafe Carlisle, like that could just be Carrie by herself, talking to herself, hallucinating or whatever.

[Lauren Garoni]

Yeah, I'm trying to remember. Is Louise there at her housewarming or apartment warming party?

[Chelsea Fairless]

I don't think so. I think this is a troubling development. I mean, we know that Carrie's mental health was at an all time low.

[Lauren Garoni]

Sorry, I'm just imagining, like the reveal where it's like we see Carrie at best buying herself. Meet me in St. Louis.

[Chelsea Fairless]

Oh, yeah. This is when it turns into a horror movie. And just like that, she opens the Louis Vuitton box and we realize that she just gave that bag to herself all those years ago.

[Lauren Garoni]

That's what I'm imagining is the scene where she gives the bag to Luis. There's no one there. She lets go of it. It just drops to the ground.

[Chelsea Fairless]

Oh, scary, scary. Very scary. Okay, so what else has happened in this part of the movie? Miranda's moved to Chinatown.

[Lauren Garoni]

Can I just report from the draft of the script I read? Chelsea, you have no idea. There are four extra seeds of Miranda finding an apartment that involves a backstory with Magda. It starts with Miranda getting pissed off that the broker was not able to show her an apartment. So she's like, I'm gonna find one myself. She's in Chinatown and she's waiting for someone to move in and out. But there are two scenes that they never even shot where Miranda only gets the apartment she is in because there is a Ukrainian man that Magda had a relationship with, and he's still into Magda, so he gives Miranda the apartment.

[Chelsea Fairless]

Okay, I kind of love that.

[Lauren Garoni]

The draft that I read feels like he wrote 500 pages because it. It. All these extra seeds feel like a season's worth of Sex in the City.

[Chelsea Fairless]

I do love the detail that when Miranda, like, first goes into her new apartment, there's guys carrying a couch down the stairs. And one of those men is Tony winner Lin Manuel Miranda.

[Lauren Garoni]

Yep. Charlotte's pregnant with a kid that we will later learn in. And just like that is awful. So who cares? So fuck this kid.

[Chelsea Fairless]

Fuck this kid. But we're happy for sure. Again, we need Char to be happy because we need one of them to be happy.

[Lauren Garoni]

Yeah. I mean, we've bemoaned this and then just like that, that Charlotte doesn't really get a storyline. But the last thing we need is a depressing Charlotte storyline. So.

[Chelsea Fairless]

Fine. Well, I think we may be getting one in the next season of and Just like that. Just because of that one promotional photo that they put out where she's kind of like. It's like she's standing against a chain link fence next to the east river or something.

[Lauren Garoni]

Oh, Jesus. I did not see this. This part of the film, which is so long, is Carrie back in New York, But Samantha is on a side quest in Los Angeles. We haven't even gotten into the Hot Neighbor.

[Chelsea Fairless]

No time like the present. We might as well talk about Dante.

[Lauren Garoni]

Dante, who is the male version of Samantha.

[Chelsea Fairless]

He's fucking a different girl every night.

[Lauren Garoni]

This film does get to a certain reality that is often not shown in Los Angeles. Luxury real estate, which is if you can't afford beachfront property in Malibu, you can literally reach your arm out and touch your neighbor's house. So for anyone who's like, come on, that's a little unrealistic that she could see into her neighbor's place and he's constantly having sex. It's like, nope, that's actually the most accurate thing in this movie.

[Chelsea Fairless]

Miranda is like, so this is not helping Samantha's mental health because not only is she, like, trapped in this house alone most of the time, dealing with, like, some other man's life, managing some other man's career, now she's just, like, constantly being teased by Dante and his dong.

[Lauren Garoni]

One man, Smith, Jared, has the career that she wants, and another man, Dante, has the sex life she wants.

[Chelsea Fairless]

The next scene is. Is Carrie and Louise talking about the Sad state of CarrieBradshaw.com which I will admit does look like an Angel Fire website. My favorite detail in the scene, perhaps the campiest detail, is that Carrie's feet are up. But these shoes have, like, never seen a street this. Pristine soles on these shoes. It really is something.

[Lauren Garoni]

The importance of this scene is that Louise is like, hey, I've been working for you for months, and I haven't done a single thing. Like, maybe we should go through some emails. And the first email she reads is from Big.

[Chelsea Fairless]

She's like, who's this Big person? So Carrie's basically like, I can't deal with this.

[Lauren Garoni]

Like, hide it in a folder. I wonder if that'll come back.

[Chelsea Fairless]

Chelsea, if we didn't think Carrie was giving cry for help before, now she really is. Because of her brunette makeover.

[Lauren Garoni]

Yes. Which is kicked off because Carrie sees the issue of Vogue that her wedding was supposed to be featured in. And it does seem kind of insane that Enid wouldn't give her a heads up that indeed, this editorial she shot and profile I assume written by Plum Sykes would be featured in the Age issue.

[Chelsea Fairless]

Well, they could have kept it out of respect for Carrie. They should have changed the title of the article, which is the Last Single Girl. Oh, yeah. And in that scene, that is where Miranda kind of tries to tell Carrie about the fact that she unloaded on Mr. Big at the rehearsal dinner.

[Lauren Garoni]

And we also learned that Steve and Miranda nor Carrier Big have had a conversation about these very big life events that have happened to each of them. I do think Enid could have done Carrie a solid and not included the editor's note. The wedding of Carrie Bradshaw and John James Preston was canceled as this issue went to press. Yes, Carrie Bradshaw is still single and living in Manhattan.

[Chelsea Fairless]

Yeah, we didn't need the still single part of that. They had to say Something, of course they did.

[Lauren Garoni]

And presumably, given how much Page Six features or is mentioned in the first half of this film, you have to imagine that Big leaving Carrie at the altar was also Featured in page 6.

[Chelsea Fairless]

It is unfortunate that we didn't get to see Natasha picking up her New.

[Lauren Garoni]

York Post or Aiden and Kathy reading the Vogue article and cackling.

[Chelsea Fairless]

She is wearing this giant, wide, brimmed, tortilla chip shaped hat while eating tortilla chips and guac to keep from, I don't know, jumping over the balcony and raping Dante.

[Lauren Garoni]

Her horniness is proportional to the size of the hats.

[Chelsea Fairless]

And this is also the beginning of Samantha's binge eating disorder and gets dangerously.

[Lauren Garoni]

Close to credit card debt.

[Chelsea Fairless]

Yeah, she has to like, do a full rodeo shopping spree because I guess she has no friends.

[Lauren Garoni]

Oh, my God. I'm realizing we're not even at New Year's yet. Oh, my God.

[Chelsea Fairless]

I know. Lord and I, we used to screen this film in movie theaters with a commentary track. We did it in Australia for a couple years in a row. We did it in New York once. And every time in the beginning of it, when we informed the audience of the length of the film that they were about to watch, everyone in the theater was like, oh, God, like, you don't realize. You don't realize.

[Lauren Garoni]

Okay, so Carrie finds her wedding dress. Does Carrie need an assistant? No. Is Louise a good assistant also? No. You make an executive decision. You put that wedding dress in Manhattan storage. Okay? Manhattan mini storage.

[Chelsea Fairless]

All the product placement. You don't even know what this place is called.

[Lauren Garoni]

But this very haunting line Carrie has, which is not investigated at all, which Carrie says she hasn't cried. And she wonders, maybe she shed all of her tears for Big and she has no more to give.

[Chelsea Fairless]

That's very romantic.

[Lauren Garoni]

Yeah. In a Sylvia Plath kind of way.

[Chelsea Fairless]

Yeah. I like the idea that there's a finite amount of tears for a certain situation.

[Lauren Garoni]

So anyway, this is where Carrie and Louise go to Cafe Carlisle or Carrie's drinking by herself.

[Chelsea Fairless]

One or the other. I really think this is like one the of those scenes in the end of Fight Club where Edward Norton's just like hysterically laughing alone.

[Lauren Garoni]

Carrie is cheersing herself. The bartender is watching Carrie say, that's what your 20s are for. Your 30s are for learning and your 40s are. Are to pay for the drinks. And she just like throws 100 down and walks away.

[Chelsea Fairless]

Is this where Louise gives Carrie her keychain or is this when we. We see the keychain, the love keychain.

[Lauren Garoni]

This is where she shows the keychain. Yes.

[Chelsea Fairless]

It's gold. It says love. Designed by H. Stern. Retailed at the time for $6,800.

[Lauren Garoni]

Jesus.

[Chelsea Fairless]

Expensive thing for Louise.

[Lauren Garoni]

To be fair, in our current reading of this, Louise doesn't exist.

[Chelsea Fairless]

And Carrie bought herself the love keychain.

[Lauren Garoni]

Yeah.

[Chelsea Fairless]

And Louise says love is the thing. This also pops up later in the lyrics to All Dressed up in Love.

[Lauren Garoni]

Does it even bear mentioning Carrie and Charlotte go desk shopping.

[Chelsea Fairless]

Charlotte doesn't want to run because she's pregnant, which. Okay, kind of. Fair enough. It's one thing to run on a treadmill. What if you trip on something? Or am I being crazy?

[Lauren Garoni]

You're being a little crazy. But if you are a runner, you can run while you're pregnant. But I do love that you've watched so much SVU that you think someone is out there with, like, razors that are gonna slash her, like, slasher Achilles heel. So she falls and it causes a miscarriage.

[Chelsea Fairless]

Well, as you know, I've tripped while running, so it just wouldn't be the first thing that I would do per se, if I was pregnant. But to each their own.

[Lauren Garoni]

That's the seat we needed, is like, Carrie's like, you know what? I'm gonna turn a new leaf. I'm gonna start jogging. And like you, that one time she jogs, falls, and falls in dog poop.

[Chelsea Fairless]

And then she just rolls around in the shit sobbing. I didn't do that.

[Lauren Garoni]

By the way, Carrie does have the best rebuttal to Charlotte being like, look, I have everything I want. Something's gonna be taken away from me. Like, look at you and Miranda. You guys are great people.

[Chelsea Fairless]

Well, also. And Samantha, like, all your girls are down now. It makes sense that you would be afraid of joining them.

[Lauren Garoni]

But Carrie has the best rebuttal, which is, you shit your pants this year. Yeah, like, you're good.

[Chelsea Fairless]

It's the Louise and Carrie gift exchange. So Louise gives her a copy of meet me in St. Louis.

[Lauren Garoni]

Carrie gets Louise maybe the ugliest Louis Vuitton bag possible.

[Chelsea Fairless]

The reveal of this bag is iconic. I remember being shocked in the theater seeing it the first time.

[Lauren Garoni]

We've made fun of it several times on the account.

[Chelsea Fairless]

The bag in question is the Louis Vuitton ex Richard Prince motard Firebird. I think about that Louis Vuitton collection as being quite fabulous and iconic. The models dressed like nurses certainly were. But when you look at the bags, all of the bags are pretty bad. And I don't get it, because I feel Like, Richard Prince has such a high taste level. I mean, his whole career basically is about his taste level.

[Lauren Garoni]

Also, what does it say about Patricia Field that they chose that bag out of all the bags from that collection Detroit choose out of all the bags.

[Chelsea Fairless]

In the Louis Vuitton store? Somehow this bag is still expensive. Like, I saw it on the Realre recently. I just looked for it online. The cheapest1 is 3800. And I'm sorry, I feel like that bag should be like 80% off on the real real. And it ends up being like $400. And then we could buy it, we could shoot some content with it, and then we could like auction it off for charity or something. But no, it's still like $4,000. Somehow I don't understand it. It actually has retained its value.

[Lauren Garoni]

Anyway, it's New Year's Eve, and instead of making a plan together, both Miranda and Carrie are alone. Miranda calls her. Carrie is already sleeping, wanting just to get to the next year. But Carrie does something unusually self level. Yes.

[Chelsea Fairless]

This is the most selfless thing that anyone has ever done. Deciding to go from the Upper east side to Chinatown using public transportation on New Year's Eve in the snow. That's unheard of.

[Lauren Garoni]

We wouldn't even do that.

[Chelsea Fairless]

No, that's insane.

[Lauren Garoni]

I love you, but if this were you, I would just send you like a. An Uber eats to your house and tip very well.

[Chelsea Fairless]

Yeah, you would just have gone back to sleep. I would have gone down to. This scene is pretty incredible. Carrie's outfit is incredible. We get the fur coat again. She throws the fur coat over her pajamas. She wears a sequin hat. It's very Anita Pallenberg esque. We get the return of, I believe, the white booties. White Chanel booties that she wore in the Petrovsky era.

[Lauren Garoni]

Right. Which is perfect when they're slush on.

[Chelsea Fairless]

The ground and we get a truly terrifying version of. Wait, I can't say it. I can never say it. Auld lang syne.

[Lauren Garoni]

For old lang syne.

[Chelsea Fairless]

This version of this song is by a woman named Myrie Campbell. Mayrie Campbell. The most traumatic thing about this song is that it never ends right.

[Lauren Garoni]

Which we used to great effect when we published We Should All Be Mirandas. During that live show, we did a In memoriam that was all Sex and the City related stuff, which we were going to release as a gag the following year. But it was Covid, so a joking in Memoriam didn't seem appropriate. And then too much time went by, but we said it to that song.

[Chelsea Fairless]

Although I do remember on that Covid New Year's, I think we posted on stories like, happy New Year's. Enjoy this cursed version of this song that I can't pronounce. And I remember Sarah Jessica Parker, like, slid into our dreams and was like, I love that song. And I was like, ah, I did not mean to offend.

[Lauren Garoni]

So we get a montage of what everyone else is doing. Of course, Charlotte and Harry, happy, unproblematic. Stanford and Anthony are alone at a party. Big. Also eating alone at a party. And then, then one of the most shocking things in Sex and the City history happens, which is at midnight, Stanford and Anthony kiss. When we got the opportunity to interview Daddy MPK in 2018, we of course asked him about this. And we were like, why? Why the two of them? And he was like, you know, given all the trauma they went through, they were the last two at the party.

[Chelsea Fairless]

Yeah, he was like, they were the last people standing. Like the last gay men that hadn't been, like, coupled off. I'm like, God, that's depressing. But I guess I get the thought process. Although it's hard to imagine these two dating or even being friends after the events that transpired in the television show.

[Lauren Garoni]

Anyway, Samantha and Smith Jarrett are shown last as a nod to the three hour time difference. I love the detail that there's champagne but also sparkling water.

[Chelsea Fairless]

Yeah. Just so we know that our boy hasn't relapsed.

[Lauren Garoni]

And then we've jumped to Fashion Week. And I think, sadly, when I was in the theater, it took me until this point in the film to be like, oh, oh, we're gonna show a whole year in the life of these characters.

[Chelsea Fairless]

Yeah. But I feel like Fashion Week is where things turn a corner in the film and it starts to be a little more fun again after the long depression.

[Lauren Garoni]

Right.

[Chelsea Fairless]

They go to this Vivienne Westwood show, which is randomly at New York Fashion Week in the old tents in Bryant Park. R.I.P. they're wearing 20 different animals. I think between the four of them. Obviously, Samantha is the one that gets paint thrown on her by a PETA protester. But Carrie's whole dress is just feathers with, like a thin layer of tulle over it that creates this sort of insane, like, bubble hem effect.

[Lauren Garoni]

I will say one of Sarah Jessica Parker's superpowers is her inability to feel cold in the winter time.

[Chelsea Fairless]

Well, she also is wearing fur. Her. She's wearing like some sort of like a mink shawl or something on top of this.

[Lauren Garoni]

Sure. But she has that like bubbly tulle skirt. I mean, her legs are exposed.

[Chelsea Fairless]

True.

[Lauren Garoni]

I guess because Miranda is unburdened by her children and estranged husband, she can go to fashion shows on the weekends. And she makes the point that, you know, while you guys were doing this, I had the best seats at the mammal show with Steve and he'd do the best impressions. And they all look at her, understandably so of like, hey, it seems like maybe you miss Steve. And Miranda is automatically a cunt to Charlotte and is like, oh, then should Carrie forgive Big then? Girl, what Steve did and what Big did are not the same thing at all.

[Chelsea Fairless]

Really not the same thing.

[Lauren Garoni]

Steve, who's been nothing but a stand up guy to you, had a blip of an indiscretion. Big, who has been emotionally withholding to Carrie for a decade, committed the ultimate betrayal on a day of their ultimate commitment to each other.

[Chelsea Fairless]

Not the same thing.

[Lauren Garoni]

This is where Charlotte says that she has a fantasy about seeing Big and she's thought about what she would say to him, which is, I curse the day you were born.

[Chelsea Fairless]

So cute.

[Lauren Garoni]

Chelsea, would you be shocked that there were cut scenes from the draft script I read involving this fashion show where a random reporter, not anyone we've seen from Sex and the City, comes up to Carrie and is like, thank God you're here. I've been waiting for a Carrie Bradshaw esque quote for Fashion Week. And she's like, oh, great, I'm happy to oblige. And then the woman is just like, I don't know how you survived being jilted at the altar. Carrie basically has a panic attack.

[Chelsea Fairless]

Wow.

[Lauren Garoni]

And it's like, I think I need to leave. And they're like, no, stay. And then the fashion show starts. And right. She has that voiceover where she's like, I found myself again at the end of the Runway. I'm okay that that was cut.

[Chelsea Fairless]

Yeah, I'm okay that that was cut too. With regards to the fashion show, it is legit in a sense. Like the crowd is legit. Like Miranda is sitting next to Fearne Malice, who basically like made Bryant Park Fashion Week happen in New York. And I think Patrick McDonald is also in the audience. And those are the sort of like, like legit details that really sell this. But the show, it's weird that Vivian Westwood is showing in New York, but I could get over that. I think we need some more famous models, right? Cuz, like the disjunct between how realistic the Vogue shoot felt versus this is quite significant.

[Lauren Garoni]

We needed Agnes Den. We Needed. I don't know. I take a 2008 Alexa Chung, Carly Claus, perhaps.

[Chelsea Fairless]

Yeah. We needed something in this to make it look a little less like a Vivian Westwood, like, mall fashion show or.

[Lauren Garoni]

One of those charity fashion shows that they put on at the early part of New York Fashion Week.

[Chelsea Fairless]

They would never use this music. There's many factors that make it not feel like a Vivienne Westwood fashion show.

[Lauren Garoni]

Well, that's always been an issue with Sex and the City, from the series to the movies to. And just like that, which is the source music is always incredibly hooey.

[Chelsea Fairless]

Yeah. But I think that bringing disco into Sex and the City really worked and was a smart choice. But, yeah, there's something about this that doesn't come together for me.

[Lauren Garoni]

But what does come together is when they're leaving the fashion show and the PETA protesters throw red paint on Samantha. And I think that's what really pushes her over the edge, where she's like, I got to move back to New York.

[Chelsea Fairless]

That's like top five moments of this movie, if not number one.

[Lauren Garoni]

We wrap up Louise's storyline. She comes back, back the worst assistant in the world.

[Chelsea Fairless]

How is she the worst assistant in the world?

[Lauren Garoni]

She is employed by Carrie, let's say in September. It's before the October Vogue issue comes out. It is now February, and she is putting in her two weeks notice because she's like, I saw my ex boyfriend in St. Louis at Christmas and we've gotten back together and now I'm moving home and we're getting married. Is this what she says, we're getting married?

[Chelsea Fairless]

Yeah. At least she got that much of a backstory. But that's kind of the only thing we really know about Louise.

[Lauren Garoni]

So now we're at Valentine's Day. Carrie has a singular piece of mail, and it's from Lily. That would be my 13th reason why if the only person that's sending me mail is a 4 year old.

[Chelsea Fairless]

I think that's why Samantha calls her on Valentine's Day and is like, I'm just calling to make sure that you aren't hanging from your shower rod.

[Lauren Garoni]

Samantha is making sushi because in a scene that was cut from the film and cut from the shooting script, there was a section where you see them taking the sushi making class that she references on her call with care.

[Chelsea Fairless]

Yeah, I don't think we needed that. We definitely could have cut that. This is maybe the most fun thing that happens in the Malibu house.

[Lauren Garoni]

Oh, Samantha making the sushi. Yeah, because it's fun. Which We've been missing a lot of fun from this film and it feels.

[Chelsea Fairless]

Zeitgeisty was naked sushi big in 2008. It is fun. She puts on her little outfit. She has the fish sandals, which are fabulous.

[Lauren Garoni]

Well, it's certainly more fun than two jilted single women going on a couple's Valentine's Day dinner together. We should note, when Tat was living in Australia and couldn't come into the country due to some immigration issues, I was terminally single. You and I spent many of Valentine's Day.

[Chelsea Fairless]

Yeah.

[Lauren Garoni]

Days together. And we did not go out to a romantic dinner. Dinner. Instead, we saw fucked up movies, which is what you should do. Which I guess is what they are going to do after dinner.

[Chelsea Fairless]

Well, to be fair, I think that we went to that conveyor belt sushi place that used to be by the.

[Lauren Garoni]

Grove Arclight, but we saw Phantom Thread together as a Valentine's Day date. We also saw Jackass 4 together.

[Chelsea Fairless]

Oh, yeah, we did. Fun times.

[Lauren Garoni]

Yeah. And you never once admitted that you ruined my relationship. That would have fucked up the vibe. So, yeah. Carrie admits to Miranda that today of all days, she read the Vogue article because she's a, quote, emotional cutter.

[Chelsea Fairless]

And this led her to see things from Mr. Big's perspective because as she says to Miranda, it was me this and I that. There was no we in this. And she realized, like, oh, I kind of did force this wedding on Big, which is fair. And then Miranda feels bad and it's like, maybe it's not all your fault. Maybe it's kind of my fault because I said this thing at the rehearsal dinner. And this does not go over well.

[Lauren Garoni]

With Carrie, by Miranda's own admission about why she can't forgive Steve. Right. She's like, it's not the crime, it's the COVID up. Essentially, this is Carrie's issue with Miranda because she's like, why didn't you tell me? Miranda's like, well, I did try to tell you the one time, but you.

[Chelsea Fairless]

Should have tried to tell me every day.

[Lauren Garoni]

This is a real friendship ender.

[Chelsea Fairless]

Well, because she says there's no right time to tell me that you ruined my marriage. To which Miranda should have been like, babe, clearly your marriage was not happening if your fiance was that insecure.

[Lauren Garoni]

I think the other betrayal, as two of the closest people in this friendship group is that Carrie's like, I've never kept anything from you. And then she's like, oh, wait, no, that's a lie. I think you leaving Steve was a huge mistake. She's like, how does that feel? I would say Miranda playing a not insignificant role in Big not marrying you feels more brutal than you having the correct read of, like, maybe talk to Steve. Don't ice him out for six months.

[Chelsea Fairless]

Yeah. And you've already basically said that to him in so many words.

[Lauren Garoni]

So Samantha is stood up by Smith. And Samantha rarely goes crazy over a guy. I mean, the last time she was like this was with Richard. But. But when it does happen, the same reaction occurs, which is she's going to throw things.

[Chelsea Fairless]

This is the best ever. Kim Cattrall is so good. I'm obsessed with her throwing the sushi her California hand roll. So I don't know how much time passes between Valentine's Day and this scene where Miranda is in a cab outside of Carrie's apartment.

[Lauren Garoni]

Certainly not enough time. Yeah. Miranda hits Carrie with the you have to forgive me treatment.

[Chelsea Fairless]

I know. I love the reversal of that.

[Lauren Garoni]

Yeah. I mean, she quite creepily waits outside her apartment and makes her come into a cab. Because she's like, I've spent $18 on this cab.

[Chelsea Fairless]

I don't think it's that creepy. Like, what else is she gonna do?

[Lauren Garoni]

Why doesn't Big do this? I love that Big does anything except actually going to Carrie and explaining himself. But then we wouldn't have a movie. I get it. Oh, no, we do know how much time goes by. Because Carrie has this line where it's like, you badger me to forgive you in three days and you won't even consider forgiving Steve for something he did six months ago.

[Chelsea Fairless]

Fair point.

[Lauren Garoni]

Which has an impact on Miranda. Because the next scene we see is Steve and Miranda in therapy.

[Chelsea Fairless]

Yeah. And the therapists suggest that they decide to meet in the middle of the Brooklyn Bridge.

[Lauren Garoni]

Well, she doesn't suggest the Brooklyn Bridge. That's something that Miranda comes up with. With. But I do have to say about this therapy session. I'm Team Steve. Because Miranda's like, well, you know, I've been acting this way because I don't even know if I could trust him again. What if he does this again? And Steve's like, yeah, all right. I can't trust you either. By the way, Miranda seems taken aback. Like this. He's like, the way that you cut me out of your life. And he's like, I broke a vow. But what about the other vows? Like promising to love someone for better or for. For worse. What about that?

[Chelsea Fairless]

Yeah.

[Lauren Garoni]

How do I know she won't punish me for the rest of my life? Spoiler alert, Steve.

[Chelsea Fairless]

She will can we talk about Miranda's pro and con list about Steve that she writes?

[Lauren Garoni]

Yes, Steve.

[Chelsea Fairless]

Pros. Good listener, willing to work, good lover. Interesting. Kind to mother, cares about home, doesn't care if I cook. Not threatened by my job. Some of the cons affair. Sneaky, uncomfortable at work functions. Not. Not, quote, driven.

[Lauren Garoni]

Nose hair, we should say, because we just recently did this episode in Politically Erect. She also made a pro con list for this man. And we said at the time, and I really feel this way, if you got to make a pro con list for your husband. Yeah, it's over.

[Chelsea Fairless]

Yeah, it's a wrap.

[Lauren Garoni]

Although her con list, it's like, this.

[Chelsea Fairless]

Is a good guy, but he's not driven. And she can't really get over the cheating. Although she kind of does instantly.

[Lauren Garoni]

She does instantly. Because Carrie has the point of like, emotions aren't logical. So they meet on the Brooklyn Bridge.

[Chelsea Fairless]

This is kind of the best. The music, the Al Green of it all, really gets us in the mood.

[Lauren Garoni]

Cynthia Nixon, David Eigenberg, they're very good in this scene. You want them to get together, you have an emotional response to it and then it feels like a betrayal. Ten years later when Daddy MPK is like, well, Miranda never really loved him. It's like. But yes, she did. Like she's consciously made a choice, thought about the pros and cons many times and has decided to be with this person. I'm not saying that they shouldn't have broken up in and just like that. But to then have this woman who ices out her husband for six months, very irresponsible for their family unit. I just want to say.

[Chelsea Fairless]

Oh, for sure.

[Lauren Garoni]

To then have an affair, a full ass affair in a marriage that, yes, is strained, but they're not separated with Che Diaz and not understand why Steve is bothered by this.

[Chelsea Fairless]

There's a disjunct there. There's some logic questions. But it is what it is. It happened.

[Lauren Garoni]

It's beautiful in the moment. And then they have sex. And it's very upsetting.

[Chelsea Fairless]

Really. I don't think it's upsetting to me. I'm like, oh, this is the most realistic sex scene on Sex in the City.

[Lauren Garoni]

Well, one, they're not a missionary. Thank God.

[Chelsea Fairless]

Yeah.

[Lauren Garoni]

And I applaud Cynthia Nixon for. For doing her own nudity.

[Chelsea Fairless]

Yeah, Work.

[Lauren Garoni]

Only now are we getting to Samantha reading the Secret. And then this is when her horny dog goes to the hot guy's house. And this is where we see Dante's dick. And then Dante's like, come by Anytime. And we can.

[Chelsea Fairless]

Right.

[Lauren Garoni]

We still have Carrie's housewarming party.

[Chelsea Fairless]

Yes, it's Carrie's housewarming party. She's painted her apartment teal. She is wearing a teal dress. I've never understood this.

[Lauren Garoni]

And thankfully, and then just like that, they toned down the apartment redesign quite a bit.

[Chelsea Fairless]

Well, she still has teal wallpaper.

[Lauren Garoni]

I know, but Carrie having a flat screen felt very weird, I will admit.

[Chelsea Fairless]

Yeah, true.

[Lauren Garoni]

This is also the reveal that Samantha is, and I'll put this in quotes, fat.

[Chelsea Fairless]

It's insane because it's like they didn't really make her look heavy enough to necessitate the reactions to her.

[Lauren Garoni]

You're right, because it is Kim Cattrall. Maybe she had a salty lunge.

[Chelsea Fairless]

She's wearing a pair of pants that's, like one size too small. They didn't, like, put any sort of padding on her or anything, I don't think.

[Lauren Garoni]

No, absolutely not. And they're all like a record scratches.

[Chelsea Fairless]

Yeah. It's really, really nuts.

[Lauren Garoni]

It feels like Anthony will almost not let her in the apartment because she's too much of a fatty.

[Chelsea Fairless]

I know. It's so up. He's like, what's with the gut?

[Lauren Garoni]

And then Carrie has this insane line at the end of the party where she says to Samantha, listen, it. It isn't about the weight. You'd be gorgeous at any size, but are you happy? And I'm like, okay, that is not true. Carrie does not believe that.

[Chelsea Fairless]

Carrie does not believe that because of how you guys just reacted to this woman gaining meaning, at most, 15 pounds.

[Lauren Garoni]

But I have to ask a question, child. How often do you feel happy?

[Chelsea Fairless]

I'm with Charlotte every day.

[Lauren Garoni]

Yeah.

[Chelsea Fairless]

And that is clearly not Samantha's vibe.

[Lauren Garoni]

No. So Samantha's back in Los Angeles. All of her bags are packed. Smith walks through the door. And I gotta say, I think I would need to break up with Smith if he walked through the door in that fedora.

[Chelsea Fairless]

Yeah, that was his parting gift to her. He made it that much easier for her to dump him. Him.

[Lauren Garoni]

Well, he seems ready for this conversation to happen.

[Chelsea Fairless]

No, he knows what's up.

[Lauren Garoni]

And this is where Samantha says the brave thing. That feels like it is in line with the ethos of sex in the city. It pushes that narrative forward, which is. I'm gonna say the thing you're not supposed to say. I love you, but I love me more. Can't falter.

[Chelsea Fairless]

Yeah, no, it's great. So she immediately books a flight back to New York with her dog. Dog. And is still Binge eating on the plane.

[Lauren Garoni]

I don't get what they're trying to do with that.

[Chelsea Fairless]

Like, if anything, shouldn't this scene be showing that like she's experiencing some growth?

[Lauren Garoni]

She doesn't even fuck Dante. Right? Like there's not a smash cut to her next door fucking Dante after this.

[Chelsea Fairless]

Yeah, that is unfortunate. Although it is messy as Smith Jared does still live there.

[Lauren Garoni]

This is true.

[Chelsea Fairless]

But yeah, I find the only thing crazier than Miranda just arbitrarily being an alcoholic on and just like that is Samantha suddenly having binge eating disorder.

[Lauren Garoni]

There's also this throwaway Carrie voiceover line that I find insane and kind of insulting. She says something to the effect of like, some love stories are like short stories. And I'm like, I don't know. A five year relationship is a decently sized novel. Like Smith Jarrett and Samantha's love story is not a short story.

[Chelsea Fairless]

No, I agree. It's time for Louise to go.

[Lauren Garoni]

Go.

[Chelsea Fairless]

And what does she say? Louise, like, you brought me back to life.

[Lauren Garoni]

It's crazy.

[Chelsea Fairless]

And then she says, and you gave me Louise Vuitton.

[Lauren Garoni]

This also leds to the idea that she's just a figment of Carrie's imagination because only Carrie would write a line like that.

[Chelsea Fairless]

Yeah, it's so true. And this is where things get interesting.

[Lauren Garoni]

Charlotte is having lunch at, I assume 11 months pregnant. Wouldn't you know it? She sees Big.

[Chelsea Fairless]

She gets all flustered in that signature Charlotte way.

[Lauren Garoni]

This sequence is quite funny and slapsticky.

[Chelsea Fairless]

It's so good. This is the best part of the movie, aside from the Vogue photo shoot and Samantha in the paint. Because again, it's the unexpected pairing of two people.

[Lauren Garoni]

And there is this catharsis, which if you've been with the show forever, Charlotte really was, as she says in the scene, I was always the one rooting for you. How could you do this to Carrie?

[Chelsea Fairless]

Yeah.

[Lauren Garoni]

Now, unfortunately, because of the way the rabid interest in Sex and the City, this sequence was spoiled. In paparazzi photos. We knew that Charlotte was pregnant. And she has some altercation with Big.

[Chelsea Fairless]

As she is saying, I cursed the day you were born. Her water breaks.

[Lauren Garoni]

Big does a selfless thing. He takes her to the hospital.

[Chelsea Fairless]

Kind of a fun reversal of Carrie taking Natasha to the hospital. Hospital.

[Lauren Garoni]

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

[Chelsea Fairless]

Where he waited until Rose was born.

[Lauren Garoni]

Harry says to Carrie, big wants to speak to you. He's been writing you. And she's like, he hasn't written me a damn thing.

[Chelsea Fairless]

Harry's like, why would he say that.

[Lauren Garoni]

He had writing and emailing, technically the same thing, but very different because Carrie's like, I never received a letter in the mail.

[Chelsea Fairless]

So she goes through this envelope of unopened mail that Carrie has. It's like, what?

[Lauren Garoni]

What?

[Chelsea Fairless]

Just open your mail.

[Lauren Garoni]

Or, what was Louise doing?

[Chelsea Fairless]

Yeah, if not opening the mail for her and being like, carrie, you have to deal with this power bill or whatever. Carrie, you're being invited to the opening of the new DVF store.

[Lauren Garoni]

I hope Louise at least put her on auto pay for her bills.

[Chelsea Fairless]

So she rushes back to her laptop. She guesses Louise's password, which is love.

[Lauren Garoni]

Well, at first she writes St. Louis, and then, then we find a whole folder that Big has been sending her.

[Chelsea Fairless]

Okay, but at what point in time could you have a four letter password?

[Lauren Garoni]

Never. I thought what you were gonna say is like, okay, at what point as Louise is watching these emails come in from Carrie's ex fiance, would you be like, hey, he's been writing like a lot. Like, I'm imagining Louise reading these, not understanding, of course, the context that he's just copying and past love letters from great men. Like, just imagine Louise reading that out of context.

[Chelsea Fairless]

So Carrie sees all of these emails.

[Lauren Garoni]

Which, by the way, him. That doesn't count. You're just copying and pasting. Let's be honest, your assistant is copying and pasting love letters from great men. Why don't you try to explain what happens?

[Chelsea Fairless]

Whatever. Carrie's overcome with emotion.

[Lauren Garoni]

Well, because his last letter is, I know I screwed up, but I will love you forever.

[Chelsea Fairless]

So at this moment, Louise calls and is like, hey, girl, did you get into the email? And Carrie's like, yeah, I did. So Louise is then like, well, today is the last day that you have in heaven on fifth. So girl, go get those Manolos that you left.

[Lauren Garoni]

She goes, don't you want never worn 400 shoes? And Carrie goes, They're 525. Even in 2008, Manolo Blahniks were not $525.

[Chelsea Fairless]

They were probably like 800 then, right?

[Lauren Garoni]

Those Bonolo Blahniks are like $1,100 now. 2. Carrie's like, Ugh, it's five o'. Clock. I'll never get there in time. You have an hour to get from 73rd street to wherever the Metropolitan Museum is.

[Chelsea Fairless]

Well, she makes it.

[Lauren Garoni]

Big is there. Big was gonna send her the shoes.

[Chelsea Fairless]

And this is where the movie finally pivots to being a rom com.

[Lauren Garoni]

We get a little romance. Final, friendly. Although, do we think Big and Carrie yeah, they're fully clothed afterwards.

[Chelsea Fairless]

Carrie's a little disheveled. I think they just should have had his belt be unbuckled, right? But yeah, they definitely in the closet.

[Lauren Garoni]

And Carrie has the epiphany about how they were perfectly happy before they decided to live happily ever after.

[Chelsea Fairless]

And then they decide to take another stab at marriage. This is what I don't understand though, because it's. It's like we as the audience have spent this whole movie watching Carrie be so fucking sad. And then she looks at some emails and she's fine.

[Lauren Garoni]

The only reflection that they both do about where they went wrong is Big's like, you know where I fudged up, it was all business. What I proposed to you. That was no proposal at all. I guess where they went wrong is that he should have gotten down on one knee and proposed with a Manolo Blahnik. Which honestly very fitting for Kim Carrie.

[Chelsea Fairless]

It's very cute. It ties back into Lily and Carrie reading her Cinderella and her giving Carrie the Cinderella valentine and whatnot.

[Lauren Garoni]

Does Big leaving her at the altar have any stakes? If the film began at the end of the film, would anything be different? I don't think Carrie grew. I don't know if Miranda and Steve grew. Like, Charlotte would have a baby. So if you started the film where the film ended, you'd be like, huh, Charlotte has a new baby now, Now. But they're all in the same place at the end that they were in the beginning.

[Chelsea Fairless]

I remember feeling like the first time I saw this movie, like, what is this ending? How could they possibly get back together after he leaves her at the altar?

[Lauren Garoni]

Her smashing him with the bouquet is incredibly campy. But if the film was about something else, about planning the wedding, what does it mean to be the final single girl, whatever it was. And it ended with a big ass wedding. Much more satisfying.

[Chelsea Fairless]

Well, it does end with a wedding.

[Lauren Garoni]

It does end with a courthouse wedding, which I remember the first few times I saw it, I was like, so this whole film happened because Anthony and Charlotte were kind of shitty to her. When Carrie showed her wedding suit, literally.

[Chelsea Fairless]

Big does the ever thy never mine, ever ours, referencing Beethoven's letter in the book. And then Big correctly surprises Carrie with Miranda, Charlotte, Samantha. So cute. I love this moment. And they have what looks like a nice Denny's lunch.

[Lauren Garoni]

Everyone got the day off.

[Chelsea Fairless]

It's a very low key, casual lunch.

[Lauren Garoni]

We see what I would like the film to be filled with more. We sort of get in Sex and the City, two of like all of these characters hanging out together. Together. Like what I want is the equivalent of that dinner party scene with Petrovsky in season six. With all the characters and the relationships we like.

[Chelsea Fairless]

No, I'm with you.

[Lauren Garoni]

But instead we just get a montage sequence.

[Chelsea Fairless]

And I do think that where this film ultimately ends is perfect. Right? Samantha's 50th birthday dinner in the meat packing district.

[Lauren Garoni]

Of course.

[Chelsea Fairless]

Should we mention that All Dressed up is plain?

[Lauren Garoni]

Yes. A bit of meta Ness.

[Chelsea Fairless]

Jennifer Hudson's song.

[Lauren Garoni]

And Chelsea, they are drinking Cosmopolitans.

[Chelsea Fairless]

Okay. Actually, this is the best part of the movie. They're drinking their cosmos. They're like, these are delicious. Why did we stop drinking them? Because everyone else started. See, that is perfect. It's the perfect little wink to the audience about how influential Sex and the City was. It's perfect. And they all look incredible in this meatpacking district scene for Samantha's birthday. And it's just the perfect way to wrap up this movie because I think it really hits on what we as the audience want to see, which is the girls going out and having fun and looking amazing.

[Lauren Garoni]

Absolutely. The film ends answering Daddy MPK's philosophical question from the beginning, which is, can girls have it all? Can they have labels in life? Love. And surprisingly, Chelsea, do you know what the best label of all is?

[Chelsea Fairless]

No.

[Lauren Garoni]

It's love. Because as Carrie says in the ending voiceover. And there, in the same city where they met as girls, four New York women entered the next phase of their lives dressed head to toe in love. And that's one label that never goes out of style.

[Chelsea Fairless]

I'm gonna need some more wine.

[Lauren Garoni]

It's funny because we'll learn in. And just like that, that indeed, indeed, the label of love does go out of style when you lose the spark with your partner or your best friend has a very hot gender non conforming business partner or your husband just dies on a peloton. Wow. Am I a hater? Yes, of course. Was I a hater when I left the theater? No.

[Chelsea Fairless]

So something's happened to you.

[Lauren Garoni]

We know what happened to me. And just like that happened to me.

[Chelsea Fairless]

I think the thing about the Sex and the City movie is that you find yourself watching it when you're not even trying to because of how often it's on television. So you're not always watching it from start to finish.

[Lauren Garoni]

I don't know if I can watch it T2B anymore. I had to split this viewing in half.

[Chelsea Fairless]

See, I loved it. I had the perfect night watching this movie. But when you watch this movie, especially the Depressing third act. Like, before things get fun again, that is the most similar to. And just like that. That than anything else that we've seen. Anything that we saw in Sex and the City 2, and certainly anything that we saw in the show.

[Lauren Garoni]

Yeah, it's just. It's a permanent dramedy vibe.

[Chelsea Fairless]

With no escape in sight.

[Lauren Garoni]

I left the theater on a high. It made all of the money, which, of course, is what led to the sequel. And then everyone collectively went, no. Except even that wasn't true. They did try to do a third film, but Kim Cattrall was like, I'm out.

[Chelsea Fairless]

Out. Yeah, but I just really think there's something about this particular franchise. I feel like it will never die. I feel like even though it's unlikely that Kim Cattrall will join the cast of End just like that in a permanent capacity, I think that, like, if we're looking 10, 20 years down the line, I think there's something there, don't you?

[Lauren Garoni]

I mean, if I've learned anything from our journey with Sex and the City and the extended universe, it'll never d. It will keep going, and we will be right there along with it.

[Chelsea Fairless]

Like, we all know that there's a point where there will be an In Sync reunion show in Vegas, but just not enough time has gone by for that to make sense yet.

[Lauren Garoni]

So you're saying Sex in the City reunion in the sphere.

[Chelsea Fairless]

Perfect.

[Lauren Garoni]

All right, guys. I can't tell because I don't know how the edit's going to work out, if we've talked about. Talked as long as the film or we're gonna come in under the runtime of the movie.

[Chelsea Fairless]

We shall see. Sending prayers to our editor, Sophia. Thank you, guys, for staying with us through this, and happy holidays.

[Lauren Garoni]

Happy holidays, guys. We'll be back one more time this month. And just like that, we've talked about the entirety of Sex and the City. One.

[Chelsea Fairless]

Ciao.

[Lauren Garoni]

Bye, guys. All dressed up in love. In the summer in the winter. Time in love I dress up in.