269: On Sex and the City: Ex and the City

Summary

EVERY OUTFIT Podcast — Episode 269: On Sex and the City: Ex and the City
April 17, 2026
Hosted by Chelsea Fairless & Lauren Garrone

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Episode Overview

In this rewatch episode, Chelsea and Lauren dissect the season two finale of Sex and the City, “Ex and the City.” The hosts explore how this pivotal episode marks the point where the show’s identity as a romantic dramedy truly crystallizes, delving into themes of exes, friendship, female dynamics, fashion, and iconic pop culture references. Fashion analysis, memorable quotes, and classic Sex and the City chaos are unpacked with signature sharp wit.

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Key Discussion Points & Insights

1. Setting the Stage: Why This Episode?

• Lauren prompts Chelsea: Why choose this episode?
  • Chelsea bluntly: “No.” [01:47]
• This episode (written/directed by Michael Patrick King, “Daddy MPK”) is viewed as the moment Sex and the City finds its true voice — shifting firmly into the romantic dramedy space, with shades of horror as well. [01:44–02:12]

2. The Opening: Ex Encounters & Butter Yellow

• Miranda and Carrie’s street errand introduces running into exes and 90s fashion.
  • Carrie’s bouquet dilemma and ugly florist choices.
    • Chelsea: “I would never buy a mixed bouquet from a street vendor.” [02:32]
  • Miranda spots Steve post-basketball, triggering her “psycho” reaction and a literal flee from the scene.
    • “She has the most insane reaction to seeing an ex on the street and flees.” [04:35]
  • Fashion rundown: Multiple butter yellow appearances (Carrie’s pants; Big’s polo). The rise of butter yellow is traced to Molly Boz’s famed kitchen. [03:26–04:07]
  • Miranda’s look: Chico’s/Contempo Casuals/Winona Ryder in Reality Bites.
    • Lauren: “Rip, Contempo Casuals. Anyway…”

3. Can You Be Friends With an Ex?

• Diner scene debates ex-friendship:
  • Samantha (iconically): “I've never been friends with men. Women are for friendships. Men are for fucking.” [06:08]
    • Carrie’s deadpan: “You must learn to form an opinion.” [06:12]
      • Debate: Is Carrie being sarcastic?
  • Charlotte’s stance: “If they don’t want a relationship, then they don’t get me as a friend.” [06:53]
  • Miranda’s rules: “We didn’t work out. You need not to exist.” [08:17]
  • Real-life insight:
    • Chelsea: “Obviously, I think that straight men and straight women can be friends, but are they often, like, close, close friends? …Relationships like that do not exist.” [08:36]
    • Lauren: “...Can you be friends with someone you used to have sex with? And I do think that that is difficult for heterosexual couples.” [09:21]
    • Carrie’s signature voiceover: “We keep dresses we’ll never wear, but we throw away our ex-boyfriends.” [09:58]
    • Samantha: “To their next girlfriend.” [10:44]

4. The X-Factor — Is Friendship Possible?

• Carrie’s “I couldn’t help but wonder…” musing: [12:43–13:12]
  • Lauren: “Depends on the ex.”
• The hosts agree: For the SATC crew, true friendship with exes is rare, but Samantha remains the outlier.
  • Chelsea: “For this particular group of people, the answer is no. …Samantha, sure, she could be friends with an ex.” [13:30]
  • Cultural note: Chelsea explains why “the Straits” struggle with ex-friendship compared to queer/lesbian circles: “In lesbian culture, it's obviously extremely normalized.” [16:30–16:56]

5. Miranda & Steve: Relationship Realism

• Steve’s bold approach (borderline stalker-ish) sparks discussion of New York tropes about just showing up at someone’s door and the (im)possibility of boundaries. [17:07–18:00]
• Vulnerability highlight: Miranda’s admission, “I miss you. Whenever something funny happens, I always want to tell you about it” [20:33]
  • Chelsea reflects on how this line inspired Olivia Rodrigo’s upcoming song and relates to literary themes of post-breakup longing. [20:33–21:16]
• Sexy witty banter (Tracy/Hepburn–style):
  • “Do friends kiss here? Do friends kiss here?”
    • Chelsea: “Honestly, would make me barf, personally, but to each their own.” [42:00]
• They conclude: Sex derails any chance at platonic friendship—and both hosts relish Steve’s game, which is missing in the later reboot. [42:00–42:24]

6. Charlotte’s Underserved “Horse Girl” Plot

• Charlotte’s horse trauma loosely ties into the episode’s friendship theme (“Can you reestablish a friendship with horses?”)
• Both hosts declare: Charlotte radiates “horse girl energy” and the plot is a classic example of a Sex and the City character getting less development. [22:07–22:22]

7. Samantha & Mr. Cocky (aka “Mr. Too Big”)

• Samantha’s storyline: Meets a macho finance bro who is “very well-endowed”—her reactions and puns ensue.
  • Lauren: “You dated Mr. Big? I’m dating Mr. Too Big.” [40:07]
  • Carrie: “Who are you, Goldie Cox?” [40:18]
  • Samantha: “It was like a wall of flesh coming at me.” [40:38]
• The segment is praised for many iconic puns and physical jokes—even though the actual prosthetic is never shown. [39:12–41:10]

8. Carrie’s Emotional Spiral: The Lunch Scene with Big

• Fashion: “Classic 90s hot girl look”—white camisole, pink beaded midi skirt, pashmina. [26:28]
• Nervous energy: Carrie’s Woody Allen neuroticism, prepared speech, and awkward call due to Caller ID (mid-90s technology anxiety). [27:34–28:01]
• Attempting friendship: Lunch at 11 Madison Park (“lunch is the only appropriate meal with an ex”).
  • Carrie’s effort quickly derailed once the subject of Natasha arises.
• Big’s bombshell: He’s engaged to Natasha.
  • Carrie’s meltdown results in one of the series’ most chaotic exits—her Fendi baguette takes out a chair, a tray crashes, she trips down restaurant stairs.
    • Chelsea: “I also miss when people filmed on location like this”—noting the spectacle and energy. [32:49–33:06]
  • Memorable line: “Be engaged, get married to Nijinsky or whatever her name is.” —Carrie [33:21]

9. Plaza Hotel & The Way We Were Parallels

• The iconic Barbra Streisand/Robert Redford film is invoked, with “Hubble” becoming shorthand for why men pick “simple” women over complex ones.
  • “Ladies, I am having an epiphany. The world is made up of two types of women. The simple girls and the Katie girls. I am a Katie girl. And where are our drinks?” —Carrie [50:58–51:08]
• Chelsea and Lauren discuss the deep SATC/Easter egg: The engagement brunch is at the Plaza, echoing The Way We Were’s final scene. [51:28–52:08]
• Importance of curly vs. straight hair as a symbol of personality (Katie girls vs. simple girls).

10. Fashion Deep Dives

• Patricia Field’s styling is celebrated for the episode:
  • Emmy-worthy looks include the Dior bias-cut white slip dress at the Plaza—mirroring the runway (and Natasha’s style).
  • “She’s wearing CK’s wedding dress practically to this bitch’s engagement party.” —Chelsea [53:17]
  • Carrie’s fabulous-but-impractical stable look (“red leather halter bustier with jeans and stilettos”) up for best dressed. [38:17–38:34, 61:08]
• Detailed breakdown of how these looks inform character and narrative.

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Notable Quotes & Moments (With Timestamps)

• “[Butter] yellow has been making a lot of appearances in general. Like, have you stepped into a Zara recently?” —Chelsea [03:47]
• “She has the most insane reaction to seeing an ex on the street and flees. I mean, literally runs.” —Lauren [04:35]
• “I've never been friends with men. Women are for friendships. Men are for fucking.” —Samantha [06:08]
• “You must learn to form an opinion.” —Carrie [06:12]
• “We keep dresses we'll never wear, but we throw away our ex-boyfriends.” —Carrie [09:58]
• “I personally don't understand why it is so hard for so many people to be friends with their exes. In lesbian culture, it's obviously extremely normalized...” —Chelsea [16:30]
• “I miss you. Whenever something funny happens, I always want to tell you about it.” —Miranda [20:33]
• “You dated Mr. Big? I'm dating Mr. Too Big.” —Samantha [40:07]; “Who are you, Goldie Cox?” —Carrie [40:18]
• “It was like a wall of flesh coming at me.” —Samantha [40:38]
• “She just uses her foot and her toes to slide the invitation off the bed.” —On Carrie’s physical comedy after receiving Big’s engagement invite [49:11]
• “Ladies, I am having an epiphany. The world is made up of two types of women. The simple girls and the Katie girls. I am a Katie girl.” —Carrie [50:58]
• “‘Your girl is lovely Hubble.’ And Big goes, ‘I don't get it.’ And Carrie shoots back, ‘...And you never did.’” [55:09]

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Major Segments & Scene Breakdowns (With Timestamps)

• Flower stand intro / Miranda runs from Steve: [02:12–05:06]
• Diner Exes Debate Scene: [05:32–09:58]
• Carrie’s ‘I couldn’t help but wonder:’ [12:43–13:12]
• Samantha & Mr. Cocky meet-cute: [23:06–24:11]
• Carrie calls Big (Caller ID panic): [26:04–28:08]
• Carrie & Big’s awkward lunch / Engagement bombshell: [28:29–33:32]
• Plaza Hotel confrontation and The Way We Were epiphany: [50:10–55:09]
• Episode’s end — Carrie’s monologue (horses/free women): [57:40–58:29]

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End-of-Episode “Exit Survey” (Rapid-Fire) [59:44–64:52]

• MVP: Mr. Big (with Carrie as runner-up; unusual for the podcast)
• Best Line: “Who are you, Goldie Cox?” —Carrie [61:04]
• Best Dressed: Carrie, especially the stable outfit and Plaza Dior slip dress [61:08]
• Who Are You?: Both hosts see themselves in a mix of characters: Lauren — Miranda (for avoidance), Carrie (for emotional crashes), Samantha (never saw The Way We Were)
• Biggest Trigger: Carrie’s open-toe stilettos in manure; spontaneous public singing [62:31–63:46]
• Hottest Take:
  • Chelsea: “The reality that Carrie showed up to the engagement party in a white dress is very, like, overly dramatic…” [64:02]
  • Lauren: “The series should have ended here.” (Lauren argues the show became more formulaic once Michael Patrick King steered it toward a Carrie/Big endgame, veering from Candace Bushnell's original vision.) [65:27–68:07]

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Tone and Style

• The hosts oscillate between bitchy brilliance, fashion nerd-out, wounded wisdom, and laugh-out-loud irreverence, all while weaving in pop culture, real-world relationship observations, and impeccable comedic timing.
• Frequent nuggets of biographical detail and inside references for SATC obsessives (e.g., Patricia Field’s styling methods, relationships between SATC writers).

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Final Thoughts & Takeaways

• “Ex and the City” is the show’s first episode with all its DNA crystallized—equal parts friendship, heartbreak, chaos, and high-low fashion.
• The hosts mourn the show’s future path (especially the softening and paired-off endings), but recognize this episode’s strength as a plausible series finale.
• Indelible quote:

  “Maybe some women aren't meant to be tamed. Maybe they need to run free until they find someone just as wild to run with.” —Carrie [57:40]

  • Chelsea: “This is one of the all time, like, biggest Carrie Bradshaw inspirational quotes. …a thousand images come up of this quote, like, overlaid on pictures of horses and pictures of beaches and all sorts of shit.” [58:04]

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For the Die-Hards & Casuals Alike

This podcast episode is an essential listen for those craving sharp Sex and the City takes, scene-by-scene fashion analysis, and immense pop culture wisdom—dished out with candor, affection, and a touch of “Goldie Cox” irreverence. If you want behind-the-dish on SATC’s enduring themes, plus a crash course in ‘90s/early-aughts style through a best-friends lens, look no further.

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Next up: Season Five’s “Luck Be an Old Lady.”
Stay tuned for more rewatch brilliance!

Transcript

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[Lauren Garrone]

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[Doug]

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[Chelsea Fairless]

Yeah, the bird looks out of your league.

[Doug]

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[Lauren Garrone]

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[Morty]

I spent $40,000 on shoes.

[Lauren Garrone]

What's the matter, Morty? Great gowns. Beautiful gowns.

[Chelsea Fairless]

Fashion has changed.

[Lauren Garrone]

Hi, I'm Lauren Garrone.

[Chelsea Fairless]

And I'm Chelsea Fairless.

[Lauren Garrone]

And welcome back to the Every Outfit podcast. We are doing our monthly rewatch of a Sex and the City episode. We noticed that our season two rewatch viewing has been lacking, so we've decided to do a season two episode, the

[Chelsea Fairless]

season two finale, X and the City.

[Lauren Garrone]

Chelsea, you chose this episode. Was there any particular reason why?

[Chelsea Fairless]

No.

[Lauren Garrone]

Well, all right then. This is written and directed by Daddy mpk. This is purely his vision, and dare I say this is really where the Sex and the City that we come to know and love really is fully formed. In this episode, at least, that's my feeling.

[Chelsea Fairless]

Well, it did a hard pivot to a romantic dramedy in this episode for

[Lauren Garrone]

sure, and, dare I say, verging on a horror film at times, which begins with the first scene, which is Miranda and Carrie outside of a bodega buying

[Chelsea Fairless]

flowers from a street vendor. And Carrie's like, should I get the $5 ones that last three days or the $10 ones that last five days? Both hideously ugly choices, might I say.

[Lauren Garrone]

Well, I consider you the floral expert. So I was going to ask you, what is the better buy?

[Chelsea Fairless]

I would never buy a mixed bouquet from a street vendor. From a supermarket. I would rather just buy one type of flower than do that. So by that logic, I would buy the $5 bouquet that lasts three days.

[Lauren Garrone]

I do like that the girls are seemingly running errands, which we don't see them do very often. More so in the earlier seasons than the latter seasons. I also couldn't help but notice that Miranda is on her cell phone and I'm like, with who? Like, this is 1998, 1999. Someone from the firm checking in on that legal brief. Anyway, Miranda spots Steve coming down the street having just played some hoops with the boys, I guess.

[Chelsea Fairless]

Yeah, he looks so cute and dumb, like a golden retriever in his Roots basketball jersey.

[Lauren Garrone]

Well, before we get into the psycho ness that Miranda does in this scene, I just wanted to discuss with you Miranda and Carrie's casual looks. Because we've got Carrie in this, like, creamy, maybe butter yellow. Butter yellow makes several appearances in this episode. I notice big later in this episode as a butter yellow cashmere polo.

[Chelsea Fairless]

Butter Yellow has been making a lot of appearances in general. Like, have you stepped into a Zara recently?

[Lauren Garrone]

Oh, yeah. I mean, I. I think this is perhaps Molly Boz and her unfortunately now burned down but very influential butter yellow kitchen that was featured in Domino magazine and a lot of her cooking videos.

[Chelsea Fairless]

Rip.

[Lauren Garrone]

So, yeah, Carrie is in these, as I said, buttercream yellow pants and then this tie dyed pink tank top. And Miranda's in whatever they like to put Miranda in. It's very Chico's.

[Chelsea Fairless]

It also could be interpreted as a contempo casuals type of thing. It's not dissimilar from something that Winona, writer's character might wear in Reality Bites a small scale, vaguely bohemian floral print.

[Lauren Garrone]

Speaking of. Rip. Rip. Contempo casuals. Anyway, they see Steve, or really Miranda sees Steve, pulls Carrie away, has the most insane reaction to seeing an ex on the street and flees. I mean, literally runs. And does Carrie steal that bouquet?

[Chelsea Fairless]

No, I think she just drops it on the ground. And then like, the bodega man yells at her.

[Lauren Garrone]

Well, yeah, she has not paid for the bouquet and now the bouquet is ruined and he can't sell it.

[Chelsea Fairless]

It is really sad looking at Steve's face in this scene.

[Lauren Garrone]

Yeah, they do a great kind of cut to Steve, who has, as Miranda will describe in the next scene, these puppy dog eyes. Or maybe it's Carrie who describes him as having puppy dog eyes. But it made me realize that Steve is wearing his glasses, which he usually does, which makes me question, does he wear the glasses while he's playing basketball?

[Chelsea Fairless]

I assume so.

[Lauren Garrone]

And then I have to say this is maybe my favorite structure to Sex and the City episodes where we get a cold open with the girls. And then a hard cut to a diner scene where they're discussing what has just happened. In the scene before, we get some pretty great dialogue. Miranda explains her actions by saying, I'm sorry. I panicked. What am I supposed to do? Chat about the weather, the man's been beside me?

[Chelsea Fairless]

And then this dovetails into a conversation about, can you be friends with a man, basically?

[Lauren Garrone]

Well, yes, broadly speaking, it's, can you be friends with an ex? But because these are all heteronormative women who date men, it's, can you be friends with a man after you've had sex with them? And Samantha has this line where she goes, I've never been friends with men. Women are for friendships. Men are for fucking. To which Carrie immediately says, you must learn to form an opinion. And this Carrie line has always haunted me because I'm like, but that is an opinion.

[Chelsea Fairless]

Like, I think she's being sarcastic, honey.

[Lauren Garrone]

Is she?

[Chelsea Fairless]

Yes, of course she's being sarcastic. Oh, you think she was earnestly saying that to Samantha?

[Lauren Garrone]

I don't know. With Carrie. Wow, that's really breaking my mind.

[Chelsea Fairless]

This conversation really highlights the fact that they just have, like, quite dark and sad relationships with men generally. If this is how they feel.

[Lauren Garrone]

Okay, can we get into Charlotte's perspective about this? Because she says, if they don't want a relationship, then they don't get me as a friend. And isn't that the exact same thing that Miranda is saying, just in a different way? Because Miranda's like, I cannot be friends with a man who's been inside me. And then Charlotte's perspective is basically, as Carrie puts it, you punish the men by withholding your friendship if the relationship doesn't work out.

[Chelsea Fairless]

Right. I don't know. This conversation really just affirms my belief that a lot of couples do not have anything in common. So once you take sex out of the equation, there's, like, nothing left.

[Lauren Garrone]

That's interesting. I was going to get into this with. I couldn't help but wonder. But I will just say it now, which is, I do think, and maybe this is a narrow view, but in heterosexual relationships that don't work out, I think you can only be friends if the sexual component is taken out.

[Chelsea Fairless]

Yeah, but, like, if the sexual component is taking out, then the guy doesn't give a shit about you anymore. And once women realize that the guy isn't the one, as Charlotte would say, then the woman doesn't give a shit either.

[Lauren Garrone]

Well, I suppose that this point could be made better if Skipper was still in the world of Sex and the City. Because that is a straight man that Carrie is friends with and she does not have a sexual relationship with him.

[Chelsea Fairless]

That's true.

[Lauren Garrone]

Miranda does as she says. Her relationship philosophy is, we didn't work out. You need not to exist. Which is basically what she does to Skipper.

[Chelsea Fairless]

Look, you're right. Skipper is an exception to the rule. For Carrie anyway. Although she did stop hanging out with him.

[Lauren Garrone]

Or did the show just lose interest in Skipper?

[Chelsea Fairless]

Well, that too, absolutely. I don't know. Obviously, I think that straight men and straight women can be friends, but are they often, like close, close friends? I believe we touched upon this when we discussed My best friend's wedding. Like, relationships like that do not exist.

[Lauren Garrone]

No, of course not.

[Chelsea Fairless]

Like, I feel like if a straight man and a straight women are friends, it's usually because they work together or they're friends with their friend's wife or something.

[Lauren Garrone]

Or like I think about, I am friends and friendly with Paul's friends, sort of exterior circle. But this is specifically about can you be friends with someone you used to have sex with? And I do think that that is

[Sponsor/Ad Voice]

difficult for heterosexual couples.

[Lauren Garrone]

Unless you have a child in common or a pet in common. That you need to have some sort of co parenting relationship after the relationship ends.

[Chelsea Fairless]

I don't know. My dad wasn't super close friends, but my dad was really friendly with his second wife who was just always around at our, like, parties and shit when I was growing up. So I guess I never thought it was like out of the realm of possibility that two exes that didn't have kids could be friends if they were a straight couple. But it seems like in the world of Sex and the City, this is not an achievable goal.

[Lauren Garrone]

No. Which going back to the Skipper of it all is, I think, why they sort of phased him out of the series even though he is a real person in Candace's column, is to your point. And this is what I think is so strong about this episode. The worldview of Sex in the City and what we will see in the coming seasons really coalesces in this episode. Although this whole conversation we've just had is moot because Cari kind of says to everyone how ridiculous this point of view is. Right? We keep dresses we'll never wear, but we throw away our ex boyfriends. I love that Carrie is kind of workshopping her. I couldn't help but wonder at the diner because she's like, if you love someone and you break up, where does the love go to? Which Samantha's like, to their next girlfriend.

[Chelsea Fairless]

Which I don't think is necessarily true. I think every relationship is unique. And Carrie also makes this point. She says, there's no way that what Big and I had is the same as what Natasha and Big have, which is true.

[Lauren Garrone]

But I do think a previous relationship does impact the next relationship.

[Chelsea Fairless]

Right, because so often you go for the opposite of your last relationship.

[Sponsor/Ad Voice]

Yes.

[Lauren Garrone]

And as we will learn in season three, between Big and Natasha's dynamic, I think a point could be made that Big, in reaction to dating someone like Carrie, just wanted someone super simple.

[Chelsea Fairless]

Right. Someone that was beige. And then he realized that beige was boring or beige was bullshit. Excuse me.

[Lauren Garrone]

Speaking of bullshit, there's also something that is so true in this scene about female friendship. There is this moment where they are all stunned in silence because Carrie finally calls her Natasha. And Miranda goes, when did you stop calling her the stick figure with no soul?

[Chelsea Fairless]

The idiot stick figure with no soul.

[Sponsor/Ad Voice]

Sorry.

[Lauren Garrone]

The idiot stick figure with no soul. This will come up several times in this episode. And Carrie has this really reflective moment where she tells the girls, I saw them together and I realized, you know, they're happy. Slash, we're over. And there's something so brutal about that moment that Carrie is describing. Because I think what is even more devastating than breaking up with someone is that moment when you realize there's no chance for you and that person to get back together. And then it is followed up with the Natasha. What a bullshit name. Which I do think this gets to a certain aspect of female friendships that's not great and kind of dark. Which is like talking shit about other women to make your girlfriend feel better.

[Chelsea Fairless]

Oh, for sure. But it's very transparent that this is what they're doing in this scene. Obviously, they don't have beef with Natasha, but they have beef in solidarity, at least behind closed doors or in the privacy of their own diner.

[Lauren Garrone]

And then that leads us right into the. I couldn't help but wonder, later that

[Morty]

night, I got to thinking about the X factor. In mathematics, we learned that X stands for the unknown. A plus B equals X. But what's really unknown is what plus what equals friendship with an ex. Is this an unsolvable equation? Or is it possible to transform a once passionate love into something that fits nice and easily onto the friendship shelf? I couldn't help but wonder, can you be friends with an ex?

[Lauren Garrone]

Depends on the ex. I think we got into this a little a little earlier, but, I mean, this seems to be a preoccupation with Daddy mpk. Right. He wrote this episode. This is something that he really explores in season for the idea of Carrie and Big being friends. Genuinely.

[Chelsea Fairless]

Right. I think for this particular group of people, the answer is no. Carrie, Miranda and Charlotte will all be incapable of this. Samantha, sure, she could be friends with an ex.

[Lauren Garrone]

I mean, she's friends with Smith Jarrett.

[Chelsea Fairless]

Right.

[Lauren Garrone]

She accompanies him to his. What is that movie in Sex and the City too. Whatever film that he shoots in Abu Dhabi that is basically the inciting incident for them to go to Abu Dhabi.

[Chelsea Fairless]

Right?

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[Lauren Garrone]

thinking about these women, to your point, can I imagine any of them friends with their exes? And it's like I can imagine Carrie being friends with Justin Theroux, like his character Vaughn, or perhaps David Duchovny, or Charlotte and Trey, or Post Queer Miranda with Steve. So basically, when sex is taken out of the equation, I can imagine these people being friends with their paramores.

[Chelsea Fairless]

See, I can't. I don't think they're capable of that. Especially those Carrie boyfriends. Absolutely not.

[Lauren Garrone]

I'm still mad that we never got a third Justin Thoreau boyfriend on. And just like that.

[Chelsea Fairless]

I personally don't understand why it is so hard for so many people to be friends with their exes. In lesbian culture. It's obviously extremely normalized to have a close friendship with your ex.

[Lauren Garrone]

I mean, you can just say it, Chelsea. You're talking about the Straits.

[Chelsea Fairless]

I'm talking about the Straits, But I don't know why that works with women. Maybe two women have more in common to begin with. So there's more leftover, I suppose.

[Lauren Garrone]

Well, I mean, women are from Venus and men are from Mars, so.

[Chelsea Fairless]

Right. And those planetary differences can never be overcome.

[Lauren Garrone]

So Steve essentially stalks Miranda. Right. I mean, he shows up at her apartment unannounced, somehow gets into the building.

[Chelsea Fairless]

I don't know if that's stalking. It would be stalking if she randomly ran into him like, I don't know, at the restaurant next to her work or something. But this is a very unsubtle. I am coming to see you to talk about something specific.

[Lauren Garrone]

I guess it's the idea that he got past the front door buzzer or the doorman and just shows up at her door. Although this is the second time in season two that he does this because after they sleep together for the first time, he does show up at her front door. This is one of those New York movie and TV conventions that you just have to go with that in real life is a little harder to just show up at someone's front door.

[Chelsea Fairless]

What do you mean? You just ring every single buzzer until someone buzzes you in. It's actually very easy to get into

[Lauren Garrone]

any building, which lends to my point that it's kind of stalker behavior. But anyway, if this episode proves anything, it is that Steve has game. He's very convincing even when he is calling Miranda basically a shitty person for running away from him.

[Chelsea Fairless]

Well, it shows that Steve has self

[Lauren Garrone]

respect, which he will lose all of that when. And just like that happens. But I love this scene so much. Going back to this idea, at least in my mind, that this is really where Sex and the City becomes the Sex and the City we know and love. There's something about this scene where they have this Tracy Hepburn rat a tat tat back and forth with each other. But it's about being shitty, which seems so Sex in the City. And then I did that shitty thing.

[Chelsea Fairless]

It wasn't that shitty, really.

[Lauren Garrone]

It was a shitty thing. I'm a shitty person.

[Doug]

You're not a shitty person.

[Lauren Garrone]

I am. I am shitty. You would never do anything that shitty. What do you call showing up at

[Chelsea Fairless]

your apartment in the middle of the

[Lauren Garrone]

afternoon and calling you shitty? Yeah, that was pretty shitty.

[Chelsea Fairless]

It's also an incredible moment of vulnerability for Miranda. She's caught off guard in her apartment. She's wearing, might I just say a perfect fitting sort of ribbed white baby tee.

[Lauren Garrone]

They don't make those anymore. And you used to be able to walk into any mall store and get one of those.

[Chelsea Fairless]

She's not, like, in the armor of one of her power suits or something. And she, of course, instantly realizes how fucked up what she did was and feels genuine shame and remorse.

[Lauren Garrone]

But we've talked about this, because I think we did the episode where they broke up. We also have done a VIP episode that was a deep dive on their relationship. And I forget that a lot of these Sex and the City relationships that are so consequential, like Big and Carrie and Miranda and Steve. Miranda. You know, my memory is that, oh, Miranda breaks up with Steve, but she doesn't. I mean, their breakup is kind of nebulous in season two, right? It's all about this suit and going to a work function. And he returns the suit and in so many words is like, I can't give you what you obviously need, so we can't be together anymore. And then has the balls to kind of be like, but why can't we go for a meal and be friends?

[Chelsea Fairless]

Well, he clearly still wants to be with Miranda. They have unfinished business, as we know.

[Lauren Garrone]

I do like the button to the scene where he goes, what are you doing Friday? And she's still all teary. And she goes, I have a date. And begins sobbing a little bit. And he goes forward to it. Are you.

[Chelsea Fairless]

I feel that we should also highlight this line of dialogue that Miranda has where she says, I miss you. Whenever something funny happens, I always want to tell you about it. That made me remember that, I guess. Olivia Rodrigo gave an interview about her next album, and she said that she wrote a song that was inspired by Miranda and Steve and this line specifically. So I can't wait to hear that. I believe her album comes out in June. It also reminded me we're both reading Bellbird and Strangers. And it reminded me of that devastating part where she discusses wanting to talk to her estranged husband about these birds that nest on their property.

[Lauren Garrone]

Right, right.

[Chelsea Fairless]

And her realization that she can't.

[Lauren Garrone]

Now I'm just sad.

[Chelsea Fairless]

It's very sad.

[Lauren Garrone]

I mean, I would rather discuss what this Olivia Rodrigo song might be rather than getting into Charlotte's storyline, which, again, we notice certain tropes as we're doing this. Rew of them is that throughout the theme of the episode, one character is just going to get an underserved storyline. And this episode is definitely Charlotte.

[Chelsea Fairless]

Oh, yeah. Well, the theme is also quite stretched thin, right. Because every single girl's plot line deals with the idea of friendship in some capacity. Can you be friends with an ex? With a man, whatever. But in Charlotte's case, it's like, can you re establish a friendship with horses after the trauma of your childhood horse accident?

[Lauren Garrone]

I mean, even if we didn't get a storyline about Charlotte being a horse girl, she just gives horse girl energy, for sure.

[Chelsea Fairless]

And I get that this is playing into the, you know, a horse is a girl's best friend kind of thing, I guess.

[Lauren Garrone]

But for Charlotte, it's like, can she get over the trauma of being not only thrown from a horse, but we learned that her father then sold that horse. And so she finds a horse that kind of looks like her first horse, but not really.

[Chelsea Fairless]

I'm more confused how she's managed to live this close to the park for all these years and not been confronted with this horse trauma like on the daily.

[Lauren Garrone]

Well, we learned that Charlotte's question is as through Carrie's voiceover, Charlotte wondered if it was time to get back in the saddle. So now we set up Samantha's storyline where she meets maybe the most Samantha type man we have ever seen.

[Chelsea Fairless]

For her.

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[Chelsea Fairless]

He is her type, which is a white brunette man, beefy as hell, thick,

[Lauren Garrone]

Long island slash Staten island accent.

[Chelsea Fairless]

This is like the finance version of the firefighter that she met in the beginning of season.

[Lauren Garrone]

He's absolutely perfect for Samantha. What could go wrong? I do like that Daddy. MPK is foreshadowing what their relationship issue might be, right? Where Samantha says to him, blatantly picking up a woman on the street, how did you get to be so cocky? I was born that way, I guess. And he goes, at least consider meeting me for a friendly little drink. I'll think about it. Mr. Cocky.

[Chelsea Fairless]

Samantha also looks so hot in this scene.

[Lauren Garrone]

Oh my God. This red vava voom dress in the middle of the day.

[Chelsea Fairless]

Yeah, it's like a fire engine red bodycon cocktail dress. She's carrying shopping bags from Barney's and Gucci. And I love when Mr. Cocky gives her his business card. She just like puts it in her bra. That's chic.

[Lauren Garrone]

Let's bring back getting all dressed up just to do a little shopping.

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[Lauren Garrone]

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[Lauren Garrone]

our promo code outfit. Speaking of shopping, this is the scene where Carrie calls Mr. Big. And she decides to call him after finding a Laura ashley dress circa 1980, hanging in her closet, foreshadowing the shit

[Chelsea Fairless]

that she wore during that trip to Virginia on. And just like that.

[Lauren Garrone]

Oh, my God, you're so right.

[Chelsea Fairless]

But Carrie is wearing the most classic 90s hot girl look, which is a white camisole with, like, a slinky beaded pink midi skirt. And this just was the silhouette of the time. Like, I wore some approximation of this to prom. With a pashmina. I remember.

[Lauren Garrone]

You gotta have the pashmina. What if it's a little brisk outside?

[Chelsea Fairless]

You would also wear, like, your midi skirts with those, like, silk platform flip flops. Or like, slippers from the Chinese import store.

[Lauren Garrone]

See, the footwear is getting into Miranda territory.

[Chelsea Fairless]

Yeah, Miranda did that.

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[Lauren Garrone]

I love this scene because it reminds me of the days of worrying about caller id because Carrie calls Big, not anticipating that it could be Natasha, who answers the phone. Then she realizes that big has caller ID. Caller ID. A big fascination of, like, mid to late 90s media. I remember that's a, like, central point in Scream 2 is that they can, like, star 69 the number.

[Chelsea Fairless]

Oh, star 69 was incredible. What a time to be alive.

[Lauren Garrone]

Now did they have to choose 69? That felt very pointed. Anyway, so Carrie's like, shit, I have to call back because Big has caller ID and will know that I have called. And this is when Big picks up the phone. This scene, Carrie becomes a Woody Allen character. She's very nervous. She has a prepared speech. She stutters.

[Chelsea Fairless]

Of course, she's not on her A game.

[Lauren Garrone]

I mean, neither is Big, but no,

[Chelsea Fairless]

they're both on their C game. In this episode, I would say I

[Lauren Garrone]

love that Carrie has a prepared speech and has no chill and then tells Big that she has prepared a little speech. Which is. I was wondering what you thought of. Instead of pretending each other doesn't exist, we try to be friends or something.

[Chelsea Fairless]

The first of many attempts to be friends with Mr. Big. That just doesn't go well.

[Lauren Garrone]

I do think if you're gonna try to be friends with an ex, lunch is the appropriate meal. Don't do a dinner. Don't do drinks. If you can, try to make it a lunch, maybe a coffee.

[Chelsea Fairless]

Although coffee is too informal. Coffee's sad. I think lunch is perfect. I'm with you. Lunch or brunch. They end up going to 11 Madison park, which still exists in the Flatiron District. Or as Julio Torres refers to it in his latest HBO special, the Eataly District.

[Lauren Garrone]

I do love the Subtle nod to the fact that Mr. Big has a real name. Because Carrie goes. You know, back when we were dating, I used to put it under the reservation under his name, but today I've put it under my name, Bradshaw.

[Chelsea Fairless]

She shows up wearing a little pink flouncy wrap dress sort of thing. She looks hot.

[Lauren Garrone]

I mean, this is incredible Carrie style episode, but we'll get into that in a little bit. I must say, I do love when Chris Noth plays Big. Very nervous or out of sorts.

[Chelsea Fairless]

Yeah, it only happened a handful of times and this is one of them.

[Lauren Garrone]

And I think this might be the. The first time that we see him not in his usual suave, debonair kind of manner, which is a wonderful power dynamic shift. Which Carrie notes in this episode of like, oh, he's nervous. Like, the friend in me wants to comfort him. But the ex girlfriend feels great about this, of course.

[Chelsea Fairless]

So they sit down, they start drinking. She has a cosmo, he has scotch. She makes fun of him for listening to Blood, sweat and tears. Which is where we get this lore about Mr. Big's vinyl collection.

[Lauren Garrone]

Yeah, I think he was a later in life vinyl guy. Obviously he was an original vinyl guy. But as we'll see later in this episode, he's really rocking that Sharper Image 5 stack TV player tower.

[Chelsea Fairless]

Yes, he is. And he apparently loves a jazz rock moment, which unfortunate, but could be worse.

[Lauren Garrone]

Trying to answer our question of why the straights can't be friends with each other post breakup. I think where things fall apart, where queer relationships or post queer relationship friendships tend to get it better, is talking about current relationships. I think for the straights, this is where shit breaks down, as we learn with this scene between Carrie and Big. Right. She asks about Natasha. He basically gets one word out and she's like, you know what? Let's not do this.

[Chelsea Fairless]

What she says is, tell me about the girl, which is Carrie's attempt to bro down with him. And whenever she does this, it really stresses me out. We also got a bit of this, like in the Willow Summers conversation later in the show.

[Lauren Garrone]

Yeah, we get Big almost having phone sex with Carrie, but about his experience with. With Willow Summers, it grosses me out.

[Chelsea Fairless]

It's a weird vibe. I'm not surprised that Carrie immediately pivots

[Lauren Garrone]

and she's like, you know what?

[Chelsea Fairless]

What?

[Lauren Garrone]

Let's make a pact to only talk about our relationships if they're serious. And again, Chris Noth's acting in this episode is so great because he goes from being nervous to being serious. And you can tell by the look on his face before he even says that they're engaged. You just know that he and Natasha got engaged and it leads to maybe one of the best Carrie crash outs we've ever seen.

[Morty]

I just got a splitting headache.

[Lauren Garrone]

What? I. I didn't know how to tell you. And when you call for lunch.

[Morty]

Engaged? How can you be engaged? You have a problem with commitment, remember? In fact, you told me you never wanted to get married again, ever.

[Lauren Garrone]

Well, things change.

[Morty]

Meaning what? You just didn't want to marry me?

[Lauren Garrone]

Look, Natasha, in our.

[Morty]

Don't say her name to me. Don't you dare say her name to, to me. You string me along for two years and then you marry some 25 year old girl after only five months.

[Lauren Garrone]

I did not string along.

[Morty]

Yeah, right, fine. That's right. You didn't string me along. You know what? I have to go. I have a headache.

[Lauren Garrone]

And this is when Carrie's Fendi baguette takes the chair down with her. As she tries to leave, she falls. A waiters platter goes crashing down. I mean the, the chaos of this scene as she tries to leave is truly the level of messiness I miss on television.

[Chelsea Fairless]

Totally. I also miss when people filmed on location like this. Like this is a huge fancy Manhattan restaurant with a ton of extras in this scene. Like, I miss the drama of that and the spectacle of it. And I love when she trips down the stairs also.

[Lauren Garrone]

Right. Which is this callback because big trips going up the stairs. She trips going down the stairs and then makes a point to the hostess of like, you should do something about this. Which is always a great, like, I fucked up, but I'm gonna make it someone else's fault.

[Chelsea Fairless]

Carrie also said as she was dramatically leaving, be engaged, get married to Nijinsky or whatever her name is. I've never spent more than two seconds thinking about the fact that she calls Natasha Nijinsky. But do you think this could be a combination of Natasha Kinski's name into a single word?

[Lauren Garrone]

I think that that is a good working theory. It's. It's not until and just like that that we realize that Natasha Nijinsky really is her name.

[Chelsea Fairless]

But okay, I don't think it was her name back then. I think they made that choice either because a, they thought it would be a fun callback to make her last name Nijinsky on and just like that, or they forgot that that wasn't actually her name and they just googled her character and that like came up.

[Lauren Garrone]

You think the writer' in the end, just like that writer's room is like, her last name is Nijinsky. And they're like, right, right.

[Chelsea Fairless]

I really think it could be either

[Lauren Garrone]

scenario, but the way that Carrie says Nijinsky or whatever has always made it seem like she just made up her last name.

[Chelsea Fairless]

Yes, that's why I don't believe that her character was supposed to be named that. It's obviously something that came to Carrie in the moment directly following her saying, don't say her name to me.

[Lauren Garrone]

But. But it's equally possible that Carrie has of course committed this woman's name to memory. I mean, thank God Carrie was married before Google stalking someone became a possibility. Although that's a behavior we never saw in it. Just like that the few times we saw her dating as a single woman.

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[Chelsea Fairless]

Cut to Carrie and Charlotte at the stables somewhere in Central Park. I guess. I don't know.

[Lauren Garrone]

I don't know. This is fascinating. I tried to find more information about this because I want to believe that this is a real stable stable. But when you see them run out at the end of the scene, it looks like a parking garage just on like 73rd or 74th street or something. It doesn't seem like a stable that leads out to Central Park. I have to say, I am not a horse person. I rode a horse once when I was like 4 or 5 years old. And according to my mother, I said, they smell and I've never been on a horse again. I don't fuck with them. They can sense that. They don't fuck with me. We have an understanding.

[Chelsea Fairless]

So Carrie is pissed that she stepped in horseshit and she's obviously spiraling about Natasha and Big and all of that.

[Lauren Garrone]

Yes. And this is where Charlotte explains that some horses don't like to be ridden. She explains, tatty was like that when I first got him, but once I broke him in, he loved it. And this is where Carrie is just so Carrie in this moment, right? Where she's like, let me take what my friend just said and make it about myself. You know what I did? I broke Big in for other women. It's like, Carrie, Big was married before. As we discovered in our last rewatch episode, this isn't a foreign concept to him.

[Chelsea Fairless]

Charlotte then has a moment of PTSD and flees the stable.

[Lauren Garrone]

I don't know, but what do you think Charlotte told Carrie? Because Carrie's outfit in this scene is a red leather looking halter top, like corset bustier with jeans with stilettos, which, as we know, Carrie will never wear normal shoes unless her Manolo Blahniks get stolen. But like, this is truly crazy that she's wearing strappy sandals to a stable.

[Chelsea Fairless]

Well, how is she to know that

[Lauren Garrone]

there would be shit everywhere? I also love how annoyed Carrie seems to be when the woman is like, you can't smoke in the stable.

[Chelsea Fairless]

I would be annoyed too, given everything Carrie just went through.

[Lauren Garrone]

Yeah, and I'm sure the smell of manure is not helping things.

[Chelsea Fairless]

Samantha is about to fuck Mr. Cocky.

[Lauren Garrone]

I love that Carrie notes that after a few quote, get to know each other phone calls. Does this sound like a Samantha behavior?

[Chelsea Fairless]

To be fair, you used to kind of have to do that shit. It's not like you could just text someone all day for sure.

[Lauren Garrone]

But as Carrie says, they have a few get to know you phone calls. Before Samantha took Mr. Cocky up on his offer for a friendly drink. The Samantha we know like is down to fuck even without a drink. In my personal opinion, this feels like a vetting that a Miranda or a Charlotte might do.

[Chelsea Fairless]

True. So Mr. Cocky is like, I just have to tell you something. I'm very well endowed. Samantha's obviously thrilled. And then he reveals his massive cock and she's terrified, which we don't See, Unfortunately.

[Lauren Garrone]

Right, because there was some kind of decorum, at least on cable television in the late 90s.

[Chelsea Fairless]

Was there, though? Because we saw Samantha's Bush and we saw Richard's cock. We can't just see a funny prosthetic giant cock once.

[Lauren Garrone]

No, Daddy. MPK was saving that for Evan Handler in end. Just like that. So we immediately cut to a Samantha and Carrie walk and talk. Also happening in the Flatiron district.

[Chelsea Fairless]

And Samantha is venting about Mr. Too Big. So many great puns in this scene.

[Lauren Garrone]

You dated Mr. Big? I'm dating Mr. Too Big.

[Morty]

You know, you're unbelievable. You broke up with James because he was too small. This guy's too big. Who are you, Goldie Cox?

[Chelsea Fairless]

Yep.

[Lauren Garrone]

I'm looking for one that's just right. I mean, perfection, truly. There's also a great Samantha line before this where she's talking about how in explaining how well endowed he was to Carrie, Samantha's like, I didn't even want to put my mouth near it. I feared I would get lockjaw.

[Chelsea Fairless]

I also love when she's like. It was like a wall of flesh coming at me. Great visual.

[Lauren Garrone]

I love how Carrie's like, oh, yeah, there's nothing scarier than that. In a way that I'm like, you've never been with a guy whose dick is too big, Carrie. That would make you more interesting as a sex columnist. But as we'll come to know, there's no way.

[Chelsea Fairless]

I don't know if we can speak for Carrie's past sexual partners. I'm sure she's had some fun times.

[Lauren Garrone]

You. You know what? You are correct. She has had some fun times. It's just that she won't talk about them explicitly, which seems a little odd for a sex and relationship columnist.

[Chelsea Fairless]

Steve and Miranda are back at Miranda's house. They've just had dinner, which we learned

[Lauren Garrone]

that Miranda finally gets to pay now that they're no longer dating. Still not seeing the appeal of being friends with an ex. We're not having sex and I have to pay for dinner.

[Chelsea Fairless]

And I have to give you back your FDNY T shirt. Also, Steve is now on Chicago Fire and has been on that show for 10,000 years. So this was a bit of foreshadowing for. For his post Sex and the City career.

[Lauren Garrone]

Sure. He just needed to leave New York and go to Chicago. This episode reminds us, and specifically this scene of what an amazing flirt Steve is. You know, by. And just like that, we get the deucification of Steve, but we forget this man had some Mighty game he did.

[Chelsea Fairless]

And he's doing the do friends kiss here? Do friends kiss here? Which honestly would make me barf personally, but to each their own.

[Lauren Garrone]

Oh, okay. It's funny, I was watching this scene, I'd be like, yeah, that would work on me. I mean, look, I guess back to our conversation of like, can straights be friends with each other after they break up? Maybe don't go in the bedroom together? No.

[Chelsea Fairless]

And of course they end up fucking.

[Lauren Garrone]

And we end the season with Steven Miranda, where Steve goes, are we just friends? She goes, yeah, we're still just friends. Friends who have sex, which we'll see in season three. Miranda seems very comfortable with a friends with benefits situation where Steve is wanting to be make it official. Between the two of them, Samantha is

[Chelsea Fairless]

taking another stab at Mr. Too Big and his giant dick.

[Lauren Garrone]

The Carrie voiceover After two advanced yoga classes and a hit of the best Hawaiian gold she could find, Samantha was ready to take another run at Mount Everest. There is not a bottle of lube in sight.

[Sponsor/Ad Voice]

Truly.

[Chelsea Fairless]

You took a yoga class and you smoked some weed.

[Lauren Garrone]

There's not like a preparatory dildo, you know, even like an oil based lube or something.

[Chelsea Fairless]

I love when he, you know, is attempting to put it in and Samantha thinks it's in, but I guess it's really just the tip or something.

[Lauren Garrone]

Sort of the opposite of how Britney Spears describes having sex with Justin Timberlake for the first time instead of wondering if the penis is in. Unfortunately, just the tip is in Samantha and she's like, this is too much. And so she, instead of having sex with him is like, can we just be friends? Which doesn't make any sense. These two are not going to be friends.

[Chelsea Fairless]

No, she needs to, like, stop trying to fuck him and just give him a mercy hand job, you know, presumably with two hands, given his situation.

[Lauren Garrone]

We get the voiceover. And just like that, Samantha made her very first male friend. No, she didn't.

[Chelsea Fairless]

Well, I think Samantha has a lot of acquaintances and when we talk about straight men and straight women being friends, that is like normal to be part of a scene, to have people you regularly cross paths with. But that's not like the same as like having a solo dinner with someone or like talking on the phone with them, stuff like that.

[Lauren Garrone]

Well, also it's just a cleaner line of dialogue to say. And just like that, Samantha made her very first male friend. But Samantha definitely has male friends. They're just gay.

[Chelsea Fairless]

Yeah.

[Lauren Garrone]

Now we got Charlotte and the horse. She gets on the horse, she rides the horse, her and the horse are

[Chelsea Fairless]

friends again, the end. Good for her.

[Lauren Garrone]

We never see her ride a horse again. So this is where Big calls Carrie. I just have to shout out the direction of this scene, which is on the Mr. Big apartment set. Kudos to Daddy. MPK. Because it is, for a long time, this long, singular push in shot that starts from the camera's in Big's bedroom pointing towards the living room. And it's slowly just pushing in on him in a, as I said at the beginning of this episode, yet another buttercream yellow look. But this casual Big look is exquisite. Chelsea, right? He's in this polo. He's got the black slacks, he's got the leather slides. As I said in a previous scene, he's got that 5 CD tower stack behind him.

[Chelsea Fairless]

Yeah, the apartment looks incredible in this scene. He's a man of taste and he's

[Lauren Garrone]

pouring his heart out. And you think he's just talking to Cari's machine. And then it cuts to carry. In her apartment, they're listening to the message in a vintage slip. And of course, because it's Carrie, she has no chill and has to pick up the phone and admit that she was screening Big's call. Come on, girl. It was going so well for you. You had the upper hand.

[Chelsea Fairless]

They have this emo conversation. She's like, I wish you the best.

[Lauren Garrone]

And he's like, do you mean it it? And she's like, well, no, but I would like to actually mean it someday.

[Chelsea Fairless]

And then, for reasons unknown, she receives an invitation in the mail to Big and Natasha's engagement brunch at the Plaza Hotel.

[Lauren Garrone]

Now, we never see Natasha's side of these events, but I do wonder, do you think Natasha had feelings about this? Like, presumably it was not her idea to invite Carrie, the random woman that she met at a party at the Hamptons, to their engagement party. This is obviously Big saying to Natasha,

[Chelsea Fairless]

well, he has to invite someone because

[Lauren Garrone]

Big has no friends and no family,

[Chelsea Fairless]

as we learned in the first film. Not a friend to be had.

[Lauren Garrone]

Right? During that sad New Year's Eve montage. He is maybe the saddest of all of the sad sacks eating alone at a restaurant or a party or something.

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[Lauren Garrone]

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[Lauren Garrone]

Quince.com outfit but going back to Natasha, obviously there's been a reappraisal of Natasha, who during the series is painted as this villain. Carrie Bradshaw is our hero, our heroine. We are of course on her side, but the Internet has reappraised the Natasha character as this vulnerable 25 year old girl who is being hated on by a 33, 34 year old woman for the singular crime of marrying Carrie Bradshaw's ex boyfriend. Before we move on to the next scene, I just want to say Sarah Jessica Parker's comedic acting in this episode is also so good. There's this moment where she doesn't even open the invitation. If you remember, it just says we're engaged. And we as the audience understand it's big in Natasha's engagement and she just puts it to the side of her. She's sitting on her bed and she just uses her foot and her toes to slide the invitation off the bed.

[Chelsea Fairless]

It's a great detail.

[Lauren Garrone]

And then we cut to the girl in the second set that we sort of lose in the later seasons. But this was like their de facto bar set that they would go to.

[Chelsea Fairless]

Right. Which is kind of weird because isn't it the middle of the day, Carrie's

[Lauren Garrone]

ex boyfriend's engagement parties currently happening mere blocks away. They need drinks, they need several rounds of cosmopolitans. Okay.

[Chelsea Fairless]

I also love how they have those colored martini glasses that they stopped using in the later seasons where it's like basically just the primary colors.

[Lauren Garrone]

Yeah, that was the beginning of the beige ification of everything. Chelsea. Well, I do like that Carrie acknowledges because again, the girls are making her feel better by talking shit of like, how dare he invite you to his engagement party? And Carrie's like, no, no, no, this was my fault. I did have to do the let's be friends speech, which I thought was, you know, a nice bit of self awareness that we don't usually get from Carrie.

[Chelsea Fairless]

So Carrie is attempting to process how all of this came to be. And Miranda has the answer.

[Morty]

Why her one word.

[Lauren Garrone]

Hubble.

[Morty]

Hubble. Oh, my God.

[Lauren Garrone]

Hubble. It is.

[Morty]

It is so.

[Lauren Garrone]

Hubble.

[Morty]

Who's Hubble?

[Lauren Garrone]

Hubble.

[Morty]

Robert Hubble Redford in the Way We Were. Oh, I love that movie. No, I love, love, love that movie.

[Lauren Garrone]

Never saw it.

[Morty]

Oh, my God.

[Lauren Garrone]

What are you, an alien? How could you not have seen the Way We Were? Check film. Okay. Robert Redford is madly in love with Barbra Streisand. Katie.

[Morty]

Katie. Oh, Katie.

[Lauren Garrone]

Right. Yeah. But he can't be with her because she's too complicated and she has wild curly hair.

[Morty]

Hello, curly. Yeah.

[Lauren Garrone]

So he leaves her and marries this simple girl with straight hair.

[Morty]

Ladies, I am having an epiphany. The world is made up of two types of women. The simple girls and the Katie girls. I am a Katie girl. And where are our drinks?

[Chelsea Fairless]

She's not wrong, you know.

[Lauren Garrone]

That writer's room must have gone crazy because I imagine that the dialogue in this scene is exactly how it went down in the writers room. Whether it was Daddy, MPK or Jenny Bix, someone was just like, you know what this dynamic is like. Like the Way We Were.

[Chelsea Fairless]

Okay. But the unspoken thing is that the last scene in the Way We Were, which they are referencing was shot at the Plaza Hotel. Or in front of the Plaza Hotel.

[Lauren Garrone]

Right. Clearly the production, once they realized, oh, the Carrie, Big, Natasha dynamic is very similar to the Barbra Streisand Robert Redford dynamic in the Way We Were. Obviously set Big's engagement party at the Plaza so that they could mimic the last scene from the Way We Were.

[Chelsea Fairless]

Yeah, I actually wonder what came first. Maybe they wanted to shoot at the Plaza anyway. They already did.

[Lauren Garrone]

It is a very likely place for Big and Natasha to have their engagement party.

[Chelsea Fairless]

But it's not like the characters are super similar. I mean, it's Robert Redford, Barbra Streisand are playing people from two different worlds. I suppose the conflict is more about Barbra Streisand's leftist Marxist activism, which obviously not the case with Carol.

[Lauren Garrone]

Right, but they both have C. C. Curly hair.

[Chelsea Fairless]

Yeah. And it's also that classic Barbra Streisand movie trope about the Jewish woman falling in love with a wasp and all that that involves.

[Lauren Garrone]

Right.

[Chelsea Fairless]

And the curly hair at the end of the way. We were highly symbolic. And it is for Carrie too, because Natasha doesn't have wild curly hair.

[Lauren Garrone]

No, she's got stick straight hair. So Carrie, wouldn't you know it. Chelsea finds herself in front of the Plaza Hotel, right as Big and Natasha are getting into Raul's chauffeured car.

[Chelsea Fairless]

And might I just say, good for Carrie because of everything in her wardrobe, this Dior bias cut white slip dress is the one thing that Natasha would fuck with the most based on her style.

[Lauren Garrone]

Right, I see what you're saying.

[Chelsea Fairless]

You know, like she's wearing CK's wedding dress practically to this bitch's engagement party.

[Lauren Garrone]

I know that people have done edits of Carrie surprising Big and making it look like a horror film. No one has included this scene.

[Chelsea Fairless]

That is the most extra thing to do. Truly. She's like, oh, I just happen to be in the neighborhood. It's like, really? Did you.

[Lauren Garrone]

This is the craziest. Well, I was gonna say most out of pocket thing that Carrie does. Probably sleeping with Big once he's married to Natasha is probably the most out of pocket thing she does.

[Chelsea Fairless]

Also, back to the dress. I had never seen the Dior fashion show where this dress came from. But after I watched this episode, I looked it up and I was shocked at how similar the model actually looks to Carrie. It is a white blonde woman, Ka ka, curly hair. And it's also wild because it's basically like this model is followed by a procession of clones that all have these white bias cut slip dresses and this wild, curly Carrie hair hair. It's interesting just because normally with Patricia Field's styling, she will take something and present it in such a different way than the designer originally intended or so differently than how it looked on the Runway. But this is a rare example of the Runway and sex in the city lining up almost perfectly.

[Lauren Garrone]

That's really crazy. Do you think Patricia Field saw that collection? It was just like, I gotta do it. I gotta pull this dress.

[Chelsea Fairless]

Yes, it would be crazy not to.

[Lauren Garrone]

And the show was not big enough. Like, season two is where the show really gets popular. So it's not like John Galliano was probably watching Sex and the City and designed.

[Chelsea Fairless]

No, no, I don't think that that is the case. It's just interesting that he envisioned this dress on someone that looks exactly like Carrie from the jump.

[Lauren Garrone]

So we have this cathartic moment Between Carrie and Big, where Carrie can't help but ask, why wasn't it me? And, you know, Big's like, you know, what do you want me to say? And she goes, I just. I really need you to say it. And Big goes, it just got so hard. And she's. And there's. There's a lot that is unsaid, but we understand perfectly. Right. Natasha is just a simple girl. Yeah. Just simpler. And this is when Carrie smooths a bit of Big's hair and goes, you, girl is lovely Hubble. And Big goes, I don't get it. And Carrie shoots back, and you never did. Now, this is an incredibly satisfying moment as an audience member, her saying, your girl is lovely Hubble. But if I'm Big, I have no idea what she's talking about. And Carrie seems fucking crazy to me and kind of only reinforces my thesis of why I'm not with Carrie.

[Chelsea Fairless]

I don't know. I think that even if he doesn't get the reference, he gets the vibes.

[Lauren Garrone]

Even if Big did understand the reference, I'm sure he's like, I'm glad I'm not marrying someone who makes weird shit movie references during very consequential life events. Cause I say this as someone who often compares things in my life to movies. And here's what I've learned about that. People don't like that shit. People want you to interact with them on a human to human level.

[Chelsea Fairless]

Also to get back into the Hubble of it all. It is my memory, and it has been a long time since I have watched this movie movie. But I believe that Barbra Streisand actually had and raised his child. Yes, he, like, never had a relationship with. Which makes that scene even darker in a lot of ways than whatever this is. But anyway, I love the reference. I love the episodes of Sex and the City that intersect with movies. Of course, we also get the Breakfast at Tiffany's stuff with Mr. Big.

[Lauren Garrone]

We do.

[Chelsea Fairless]

Do you not remember the part where they slow dance to Moon River?

[Lauren Garrone]

Oh, right, right, right. Sorry, my mistake.

[Chelsea Fairless]

Do they slow dance?

[Lauren Garrone]

Yeah, yeah, they do. Sorry. My mind was going to Charlotte getting proposed to by Trey in front of Tiffany.

[Chelsea Fairless]

Well, we had that. But also, I think the Carrie Bradshaw eye mask trope is also an ongoing Holly Golightly reference.

[Lauren Garrone]

And I feel like, as we brought up in previous episodes, Carrie moonlighting as a sex worker or a sugar baby would explain her wardrobe.

[Chelsea Fairless]

Totally.

[Lauren Garrone]

So the episode ends with this Carrie voiceover. Then I had a thought. Maybe I didn't break Big Maybe the problem was he couldn't break me. Maybe some women aren't meant to be tamed. Maybe they need to run free until they find someone just as wild to run with.

[Chelsea Fairless]

So mentally, she's back at the stables.

[Lauren Garrone]

I guess so. I mean, she needs some way to end this article this week, Chelsea.

[Chelsea Fairless]

But this is one of the all time, like, biggest Carrie Bradshaw inspirational quotes. Like, if you Google this quote, a thousand images come up of this quote, like overlaid on pictures of horses and pictures of beaches and all sorts of shit.

[Lauren Garrone]

I'm sure that the Etsy stores go wild that this is written in a fake typewriter that you could have framed on your wall.

[Sponsor/Ad Voice]

For sure.

[Chelsea Fairless]

This is also very much the thesis of Glennon Doyle's memoir, Untamed. But that's a story for another time.

[Lauren Garrone]

But doesn't. I mean, in another way, isn't she asking, like, you just basically need to find someone that matches your freak? Because I feel like Big matches her freak.

[Chelsea Fairless]

I don't think he does. I think she's too freaky for him. And there's always been that tension in their relationship. Another big example of that would be the episode where they go to the uptown party.

[Lauren Garrone]

Oh, yeah.

[Chelsea Fairless]

You know, that is true. He got into it. And over the years, Carrie became more sedate, family friendly, less self destructive. All of that more marriage material.

[Lauren Garrone]

Well, I'm gonna save my thoughts on this for my hottest take. So why don't we give this a Manolo rating?

[Chelsea Fairless]

What do you think? Think?

[Lauren Garrone]

Nine.

[Chelsea Fairless]

I'm giving it nine too. I'm only docking it because of the Charlotte plotline. Not really fitting with the theme fully. Although I see how the horses factor into Carrie's, you know, profound quote, Daddy.

[Lauren Garrone]

MBK was able to bring it together in the end.

[Chelsea Fairless]

So, yeah, it's a wonderful episode of Sex in the City.

[Lauren Garrone]

Okay, let's get into the exit survey. Who is the mvp?

[Chelsea Fairless]

Carrie. Yeah, no question. Also, though, a very good episode for Mr. Big. We never ever give it to Mr. Big because Carrie always eclipses him in the episodes that he's also good in. But still, honorable mention.

[Lauren Garrone]

I think so. I mean, this is maybe the most well rounded. We see Big. Like, there are different emotional levels for Kris Noth to play in this episode. Right. He, you know, the attractive Big that we know, he's out of sorts. He kind of gets outplayed by Carrie in the end with the Hubble line.

[Chelsea Fairless]

We see him feeling guilt and remorse,

[Lauren Garrone]

which maybe we never see again until season six at like the very end when he's trying to win Carrie back. You know what? Fuck it. The MVP is Mr. Big. But paradoxically, I am also voting Mr. Big off the island. The island of Manhattan. That is. Is. But what about you? Do you have a different person?

[Chelsea Fairless]

No, I'm voting him off also.

[Lauren Garrone]

Yeah, this is gonna be the rare time where the MVP and the person we're voting off the island of Manhattan are the same person.

[Chelsea Fairless]

Although Miranda was really mean to Steve and that was upsetting.

[Lauren Garrone]

Yeah, but she fucked him, so it's all good now.

[Chelsea Fairless]

She course corrected. But still, best line.

[Lauren Garrone]

What are you? Goldie Cops?

[Chelsea Fairless]

Yeah, obviously, best dressed Carrie. 100%.

[Lauren Garrone]

But do we want to pick a particular outfit? Because I would say for me, it's Carrie and the horse stables. Just because, like, this is the beginning of, like, fantastical Carrie. Because, like, why the fuck is she wearing this to the stables? But I love it.

[Chelsea Fairless]

Yeah, but at the same time, it's not like it is a challenging outfit in the way that many Carrie outfits are and. And deliberately so. This is another archetypal 90s hot girl outfit bit, which is some sort of little slinky top with the jeans and the heels and the little Fendi baguette. And she has her gold jewelry and she looks really fab.

[Lauren Garrone]

Okay, who are you?

[Chelsea Fairless]

Um, who am I? I mean, Carrie again.

[Lauren Garrone]

I'm going to cheat again. Because I do feel like I'm several characters. Like, I feel like I'm Miranda, because I probably would flee if I ran into an ex Carrie, because I have definitely crashed out over an emotionally unavailable man. And Samantha, because, like, her I've never seen the Way We Were were.

[Chelsea Fairless]

Oh, my God, really? That's crazy. I mean, it's not that crazy, actually, but I would recommend watching it. It's been a long time for me.

[Lauren Garrone]

Well, maybe we should do a watch together.

[Chelsea Fairless]

But how many of the old Barbra Streisand movies have you actually seen? Like, you've seen Funny Girl, right?

[Lauren Garrone]

Yes.

[Chelsea Fairless]

Well, at least there's that.

[Lauren Garrone]

What is your biggest trigger?

[Chelsea Fairless]

I don't know if I have one in this episode. Maybe Charlotte's horse drama.

[Lauren Garrone]

Okay, I have two, and they're highly specific, which has not happened in a while. But sorry to yet again invoke the Carrie and the horse stable scene. But the fact that she's wearing peep toe heels I find very triggering. Just being around all that manure. There's. There's something upsetting to me about that.

[Chelsea Fairless]

Okay, but this is the joke of the scene.

[Lauren Garrone]

I know, I know, but it can. It can be Triggering to me, Chelsea, for her little toesies to be that close to horseshit. Anyway, that and then also beyond. I'm like Samantha, because I've never seen the Way We Were Samantha's face when Charlotte, Carrie and Miranda start singing the song from the Way We Were. I felt so deeply because people spontaneously singing in public is deeply triggering to me.

[Chelsea Fairless]

See, I loved that because it's the only time Sarah Jessica Parker sings on this show, isn't it?

[Lauren Garrone]

I think it's the only time that we sincerely see her singing.

[Chelsea Fairless]

Obviously, I am Woman Hear Me Roar is not factored into this equation. I guess we hear her sing Joy to the World in that Uptown Party episode also.

[Lauren Garrone]

Well, that was my point is like, I think this is the only time that she's sincerely singing. Not drunk, not jokingly.

[Chelsea Fairless]

Right. Like this singing reminds me, like, right like this. This woman came up on Broadway.

[Lauren Garrone]

Indeed. All right, what is your hottest take?

[Chelsea Fairless]

I already touched on this. But my hottest take is that the reality of the way that Carrie showed up to the engagement party in a white dress is very, like, overly dramatic in a way that doesn't necessarily come across from the way that this episode was filmed. But if this actually happened, this would be like, crazy person behavior.

[Lauren Garrone]

Oh, God. Yeah. Yeah. Like there should be, like strings screeching, jump scare kind of musical reaction when Big sees her.

[Morty]

Fuck.

[Chelsea Fairless]

When Big sees her. When Natasha sees her, like, peering out of her car window and she's just standing there.

[Lauren Garrone]

Yeah. I wonder if Natasha ever asked Big, like, is this woman going to come to my work and try to stab me or something? Yeah.

[Chelsea Fairless]

Like, should I be concerned that your ex showed up to my engagement party wearing a white dress?

[Lauren Garrone]

Also, I've come to learn that she writes a weekly column in a very popular New York paper and has seemingly written about me and us four separate times now. Like, should I be concerned?

[Chelsea Fairless]

Also, it's interesting that Natasha is wearing black. They didn't want to have her also wearing white and have it be like, too heavy handed.

[Lauren Garrone]

Yeah, I guess I never noticed that. Interesting.

[Chelsea Fairless]

But even that, right. Carrie in white, her in black, does signal this sort of good, evil thing that's really unfair to Natasha, who of course did nothing wrong.

[Lauren Garrone]

My hottest take is that the series should have ended here. Do I really mean that? No. But this episode is an interesting butterfly effect because season two cements the popularity of Sex and the City. Right. It becomes this global phenomenon kind of from this point forward. And that popularity imbues Darren Starr to leave the show to pursue other shows and other Pursuits, which then leaves Daddy MPK as the showrunner. And as we know, Candice Bushnell and Darren Starr, who developed the show, obviously Candace Bushnell's is the source material for Carrie Bradshaw. They had always envisioned Carrie to remain single at the end of the series. It was Michael Patrick King's vision to have her and Big be endgame. And basically Darren Starr leaves at the end of season three. So starting with season four is when Michael Patrick King is the showrunner of the show. And everything from that point forward is just engineering Carrie and Big to get together. And I'm sorry, I hate to invoke 50 shades of gray on our beloved podcast, Chelsea. I know you've asked me to stop doing this, but at the end of the first film, if you remember, at the end of the first book, Anastasia leaves Christian Grey. And that is a very powerful message.

[Chelsea Fairless]

So you think that Sex and the City should be more like 50 shades of gray. That's what I'm hearing.

[Lauren Garrone]

No, no, because you think that Michael

[Chelsea Fairless]

Patrick King should be taking notes from E.L. james about writing and story structure.

[Lauren Garrone]

No, no, no. I'm actually saying Sex and the City and Fifty Shades of Grey are more similar than we think, because in the second movie and book, Christian and Anastasia get back together quite like Carrie and Big get back together, which defeats the purpose of the strength of these moments, the end of the first Fifty Shades film and the end of season two, that these women leave these men who had this emotional hold on them and in their last conversation, devastate them.

[Chelsea Fairless]

Look, I agree that this would have been a really powerful ending for the show. Absolutely. That is certainly more aligned with the tone of the pilot episode of Sex and the City, which had a. A, you know, gritty, noir feel to it.

[Lauren Garrone]

Of course. But if the show ended here, we wouldn't get the LA episodes. We wouldn't get funky tasting spunk. We wouldn't get Patricia Field at the height of her powers being able to pull insane looks like a Versace couture look in season six for sure.

[Chelsea Fairless]

But they could have chosen to end the show in this way. They could have made that choice.

[Lauren Garrone]

Carrie being single. Yes.

[Sponsor/Ad Voice]

Yes.

[Chelsea Fairless]

Carrie being single. But also it just not working out with Big.

[Lauren Garrone]

Yes. And if you've ever watched on your Sex and the city DVDs for season six, they have the, quote, alternative endings. I don't know if you remember this,

[Chelsea Fairless]

but at the end, I don't think I've seen that.

[Lauren Garrone]

Okay. At the end of season six, there was all of this talk where Michael Patrick King Was like we actually have three different endings. But all it was was that diner scene at the end. There were two additional scenes where Carrie was like, yeah, Big came to Paris and told me that he didn't love me. Or something like that.

[Chelsea Fairless]

Okay, we need to find those immediately.

[Lauren Garrone]

If I'm able to find them. We will drop it in at the end of this episode. And just like that, another Sex and the City rewatch done. It is becoming harder and harder to pick episodes. We are more than halfway through our rewatch. I'm not sure where we should go. Season three, Season four. We have shockingly done most of season five.

[Chelsea Fairless]

Yeah. Why? Although did we ever do the Atlantic City episode?

[Lauren Garrone]

We actually haven't. There are three episodes we haven't done from season five and it is actually episode two, three and four. So unoriginal. Sin Luck Be an Old lady, which is the Atlantic City episode and cover girl. So should we say let's do Luck

[Chelsea Fairless]

Be an Old Lady.

[Lauren Garrone]

All right, guys, we will be back next week and evidently we'll be back next month with a re watch episode of Luck Be an Old Lady. We'll see you then. Bye. Bye.

[Morty]

Big told us that he loved you. Exactly. The boy who cried love.

[Chelsea Fairless]

He went all the way to Paris.

[Lauren Garrone]

I'm going all the way to Napa to choke him.

[Morty]

Oh, let it go, ladies. It's Big. It's the big ending we've all been waiting for. Well, you are handling all of this very well. Actually, I'm jet lagged. I'll be feeling it in about six hours.

[Lauren Garrone]

Men.

[Morty]

Fuck em. Fuck all of them.

[Lauren Garrone]

That's coming from a woman who has.

[Doug]

And Doug, there's nowhere I wouldn't go to help someone customize and save on car insurance with Liberty Mutual. Even if it means sitting front row at a comedy show.

[Lauren Garrone]

Hey everyone. Check out this guy and his bird. What is this? You're your first date?

[Doug]

Oh, no. We help people customize and save on car insurance with Liberty Mutual Together. We're married. Me to a human, him to a bird.

[Chelsea Fairless]

Yeah, the bird looks out of your league.

[Doug]

Anyways, get a [e-mail] or with your local agent.

[Lauren Garrone]

Liberty. Liberty. Liberty. Liberty.