Latest / The Bechdel Cast / Sex and the City (The Movie) with Megan Gailey

Transcript

Sex and the City (The Movie) with Megan Gailey · The Bechdel Cast

• 0:00
  Speaker 1: On the dog Cast, the questions asked me to happen
• 0:04
  Speaker 1: and oh my questions just by friends and helping do
• 0:08
  Speaker 1: they have individualism? The Patreon changing Welcome to the Becktel Cast.
• 0:21
  Speaker 1: Thank you so much for being here, psyched to have Yeah,
• 0:25
  Speaker 1: yeah we If you're not familiar, well, first of all,
• 0:29
  Speaker 1: by around to applause. Who has listened to our show before? Wow?
• 0:34
  Speaker 1: Some enthusiastic applause and uh clap a hesitant who in
• 0:41
  Speaker 1: the night If you have not heard it, it's okay,
• 0:45
  Speaker 1: okay by a friend, very drag and dragged love it. Welcome,
• 0:50
  Speaker 1: thanks for coming right, Thank you so for you. We
• 0:53
  Speaker 1: will explain what our show is. We take a different
• 0:56
  Speaker 1: movie every episode we examine it through the lens of
• 1:01
  Speaker 1: how does it treat women? And unfortunately, nearly every movie
• 1:06
  Speaker 1: fux it up and as we'll talk about tonight, sometimes
• 1:10
  Speaker 1: even movies made for women incredible. So yeah, we use
• 1:16
  Speaker 1: the Bechdel test as a jumping out point for discussion.
• 1:20
  Speaker 1: If you don't know that is it is a media
• 1:22
  Speaker 1: metric invented by cartoonist Alison Bechdel in which two female
• 1:27
  Speaker 1: identifying characters must talk to each other about something other
• 1:31
  Speaker 1: than a man for at least two lines of dialogue.
• 1:35
  Speaker 1: Should we try it out? Try it out? Okay? Um,
• 1:39
  Speaker 1: hey Jamie, what's up Caitlin? Uh um, Oh, it shouldn't
• 1:45
  Speaker 1: be this hard. It shouldn't be this hard. I agree
• 1:50
  Speaker 1: on trying to think of something relevant to the movie
• 1:53
  Speaker 1: we're discussing tonight. Unfortunately, there are no memorable quotes or
• 1:58
  Speaker 1: anything good about it. You do remember the part where
• 2:01
  Speaker 1: she says, I like shoe that's my favorite. Okay, do
• 2:05
  Speaker 1: you like shoes? Jamie helpe me either. I should, but
• 2:09
  Speaker 1: I you know, I just wear the same pair until
• 2:11
  Speaker 1: they smell. And that passed with the back tol test Man.
• 2:19
  Speaker 1: I'm I am genuinely very excited. We're talking about Sex
• 2:22
  Speaker 1: in the City, the movie, which is critical because there
• 2:25
  Speaker 1: is there's so much universe to explore. We're talking about
• 2:29
  Speaker 1: the movie. Oh eight year of My First Kiss, Big
• 2:34
  Speaker 1: year for me. That was the year I graduated college
• 2:40
  Speaker 1: year for me. But who would you want? Are difficult
• 2:45
  Speaker 1: to say, which was a larger accomplishment because I really
• 2:48
  Speaker 1: hung in there and waited. I'm so excited for for
• 2:52
  Speaker 1: our guests to come out because I just feel like
• 2:55
  Speaker 1: it's going to be a lively ass discussion. Indeed, let's
• 2:58
  Speaker 1: bring her out. She's a comedian. She is the co
• 3:01
  Speaker 1: host of Crooked Media's Hysteria, and she has a Comedy
• 3:05
  Speaker 1: Central half hour Give it Up from Meg. I did try.
• 3:15
  Speaker 1: I know that this is like a visual I'm about
• 3:18
  Speaker 1: to riff visually and people listening won't be able to
• 3:21
  Speaker 1: hear it but or see it. But I did dress
• 3:24
  Speaker 1: in a way that I thought the ladies would appreciate.
• 3:27
  Speaker 1: I agree. I think that the whole ensemble would be
• 3:30
  Speaker 1: very carry I know my gene jackets from Madewell, and
• 3:34
  Speaker 1: that's like pretty embarrassing. That's what like what Miranda would buy.
• 3:37
  Speaker 1: But I'll take it off so then I feel better
• 3:42
  Speaker 1: and I feel more like a Charlotte. Now, yeah, I
• 3:45
  Speaker 1: see it. Wait does do you do you how do
• 3:48
  Speaker 1: you identify sex in the city? Was I identify as
• 3:51
  Speaker 1: a Charlotte in the streets and a Samantha and the sheets? Okay,
• 3:57
  Speaker 1: and everyone hears like, we don't really even know what
• 3:59
  Speaker 1: that means. To uh, it means I like to dress
• 4:02
  Speaker 1: preppy and funk a lot. Congratulations. Think, well, now I'm
• 4:06
  Speaker 1: getting married, so I can only funk one person, but
• 4:08
  Speaker 1: you'll still funk a lot Yeah, honestly, I don't feel like,
• 4:14
  Speaker 1: now that it's down to one person, my fucking has
• 4:16
  Speaker 1: dipped an Jamie. How do you identify I was? I
• 4:21
  Speaker 1: was struggling. I don't do you have an opinion either
• 4:24
  Speaker 1: way about you or about myself? About me? I was,
• 4:28
  Speaker 1: I don't know. I was struggling. I was like, I
• 4:31
  Speaker 1: don't know. I just look at this movie and I'm like, Chris, No,
• 4:34
  Speaker 1: why why I cast Chris know when you could cast
• 4:36
  Speaker 1: Alfred Molina. That's all I see. Yeah, when I see
• 4:39
  Speaker 1: this movie, Yeah, I don't think you fit the mold
• 4:43
  Speaker 1: totally of anyone, and I hope you take that like
• 4:45
  Speaker 1: the other one I person of their barrist does. That's
• 4:51
  Speaker 1: why I'm one. A lot of people feel that way though. Yeah,
• 4:54
  Speaker 1: I feel like I would serve them food and talk
• 4:56
  Speaker 1: about them when they leave. Yeah, that's what I think.
• 5:00
  Speaker 1: I identify. I think most as Raphael from Teenage Mutina Turtles.
• 5:05
  Speaker 1: That's how I that's my Sex and the City character,
• 5:08
  Speaker 1: because there's the same if you think about it. Megan,
• 5:11
  Speaker 1: thanks for being here, first of all, having me. What
• 5:14
  Speaker 1: is your history your relationship with this movie? And I'm
• 5:18
  Speaker 1: kind of just the franchise of the extended universe, you know.
• 5:22
  Speaker 1: Sex and the City started when I was probably in
• 5:25
  Speaker 1: middle school, so it was a little bit before what
• 5:30
  Speaker 1: maybe I should have been watching maturity wise, but I
• 5:33
  Speaker 1: did start watching it, and I can remember my mom
• 5:38
  Speaker 1: letting me have people over, girls over to watch the
• 5:41
  Speaker 1: finale my senior year of high school, and I cried,
• 5:45
  Speaker 1: and I mean I I grew up in the Midwest,
• 5:48
  Speaker 1: and so sort of seeing this truly fictional depiction of
• 5:53
  Speaker 1: New York City was really exciting and glamorous to me.
• 5:57
  Speaker 1: And then when the movie came out, I got to
• 6:00
  Speaker 1: ago to what was like a private screening in Indianapolis,
• 6:06
  Speaker 1: the Indianapolis premiere two pm on a Sunday, not even
• 6:11
  Speaker 1: the day the movie premiere, like one of the radio
• 6:14
  Speaker 1: stations like gave out tickets or something, and my friend
• 6:16
  Speaker 1: was an intern there and so we got to go.
• 6:19
  Speaker 1: And watching it in the theater with a group of
• 6:24
  Speaker 1: Midwestern white women was truly insane, I mean, hooting and
• 6:29
  Speaker 1: hollering and laughing, and even at the time, I remember
• 6:33
  Speaker 1: being like, that wasn't a joke. Just everyone was having
• 6:37
  Speaker 1: so many reactions and it was a really like great
• 6:42
  Speaker 1: way to see It's the same way I saw a
• 6:43
  Speaker 1: Girl Strip too. I was like so high and so
• 6:46
  Speaker 1: drunk when I saw Girls Trip and people are like
• 6:49
  Speaker 1: that movie is bad, and I'm like, I haven't revisited it,
• 6:51
  Speaker 1: but when I saw it, loved it. Uh So I
• 6:54
  Speaker 1: think part of like the experience when I saw it
• 6:57
  Speaker 1: the first time was so great. But now you know
• 7:00
  Speaker 1: it's on TV. It's on E all the time, um,
• 7:04
  Speaker 1: so you can pop in and out. I almost was like, oh,
• 7:07
  Speaker 1: I need to rewatch it for this, and I was like,
• 7:08
  Speaker 1: I know, I know it. You know, I don't need
• 7:11
  Speaker 1: to be doing my homework. I wrote the homework, so
• 7:15
  Speaker 1: I feel I feel well versed in it and it
• 7:18
  Speaker 1: definitely got me through, um some some tough times. WHOA Jamie,
• 7:25
  Speaker 1: how about you? I don't have much of I think
• 7:28
  Speaker 1: I've seen. I definitely wasn't allowed to watch it when
• 7:31
  Speaker 1: it first came on, and then I just we didn't
• 7:34
  Speaker 1: have HBO because we were quite poor, so we did
• 7:38
  Speaker 1: HBO was not a thinking in my home. Also, we
• 7:40
  Speaker 1: didn't talk about or look at nipples, so HBO was
• 7:44
  Speaker 1: also ideologically not a thing in my home. I I've
• 7:47
  Speaker 1: seen probably like between ten and fifteen episodes of the
• 7:51
  Speaker 1: show over the years. But my mom weirdly, but there's
• 7:57
  Speaker 1: so much happening. My mom got really into sex in
• 8:03
  Speaker 1: the city, like when I was a senior in high school,
• 8:06
  Speaker 1: which was too late, and I remember she came up
• 8:10
  Speaker 1: to me, like my senior year of high school and
• 8:11
  Speaker 1: she was like, Jamie, do you wax Like she she
• 8:16
  Speaker 1: was not like super familiar with the concept or like,
• 8:20
  Speaker 1: and she was like, are you doing it behind my back?
• 8:22
  Speaker 1: And I was like no, We're a full Bush family.
• 8:25
  Speaker 1: And I was like, I don't have HBO or we're
• 8:28
  Speaker 1: a full Bush family. And she was like, oh, thank god.
• 8:31
  Speaker 1: And then two years later she's like, I did it.
• 8:33
  Speaker 1: I hated it, and it was so that's really my
• 8:36
  Speaker 1: entire experience. I've never seen this movie. Okay, Yeah, what's yours?
• 8:40
  Speaker 1: I would watch this show periodically on TBS because a
• 8:46
  Speaker 1: friend of mine when I was a freshman in college
• 8:49
  Speaker 1: loved it and would play it and I would be
• 8:51
  Speaker 1: in her room and had no choice but to consume it. Um. Yes.
• 8:57
  Speaker 1: Then I saw the movie because my us friend j
• 9:00
  Speaker 1: T played it all the time in the apartment we
• 9:03
  Speaker 1: lived in together. A fan, he's a big fan. Okay,
• 9:07
  Speaker 1: I will not hesitate to say that I hate sex
• 9:13
  Speaker 1: in the city. I hate it so much, but I
• 9:17
  Speaker 1: am so excited to talk about I still the way
• 9:21
  Speaker 1: about sex in the city, the way I feel about
• 9:24
  Speaker 1: sex and cities, which is basically neutral. Okay, could take
• 9:28
  Speaker 1: them good, leave them. Sure, I do have to say,
• 9:30
  Speaker 1: I want to clarify I'm not one of those people
• 9:32
  Speaker 1: who's like, this is my identity people during this time
• 9:37
  Speaker 1: that we're like, listen, I only drink Cosmos, and I like,
• 9:40
  Speaker 1: I've never owned a poster. I would not refer to
• 9:44
  Speaker 1: myself out in the general public as a Samantha slash Charlotte,
• 9:49
  Speaker 1: But when asked point blank, I have answers and anecdotes
• 9:52
  Speaker 1: for every single thing. Perfect. I like that the full
• 9:58
  Speaker 1: spectrum is represented, indeed, full spectrum of Caucasian woman attitid.
• 10:07
  Speaker 1: I like how this movie The Sex and the Sities
• 10:10
  Speaker 1: idea of diversity is a redheaded woman, a brown haired woman,
• 10:16
  Speaker 1: a blond woman, and a dirty blond woman and a
• 10:20
  Speaker 1: black assistant. And yeah, Jennifer Hudson in a role that
• 10:23
  Speaker 1: could be removed from the movie and change nothing. Brave,
• 10:28
  Speaker 1: Oh Jennifer, Should I just dive into the recap? Yeah? So,
• 10:33
  Speaker 1: I guess can we just sort of establish how the
• 10:35
  Speaker 1: TV series ends, because I do fully believe, just based
• 10:39
  Speaker 1: on what I know about the series, that the first
• 10:41
  Speaker 1: movie seems to undo all everything that was cool about
• 10:46
  Speaker 1: the series, and that was interesting about the series because
• 10:49
  Speaker 1: it ends with Carrie deciding that she is going to
• 10:53
  Speaker 1: be with no one with herself, right that she's she's
• 10:57
  Speaker 1: chosen Carrie. I mean, we can't ever really know what
• 11:00
  Speaker 1: Carrie wants because she's so fucking annoying. She's definitely like,
• 11:06
  Speaker 1: I don't want to be with this ballerina who's pretending
• 11:09
  Speaker 1: to be an artist for the sake of the show. Um,
• 11:11
  Speaker 1: so she's gonna leave Paris, but like she is going
• 11:15
  Speaker 1: to be with Big really, but she doesn't end up
• 11:18
  Speaker 1: with anyone at the end of the series, right, Like yeah, no,
• 11:21
  Speaker 1: I think Big goes to Paris and gets her. Wait
• 11:24
  Speaker 1: is that really? Yeah? Okay, well you were saying that.
• 11:28
  Speaker 1: I was like do I was I drunk in high school?
• 11:31
  Speaker 1: Like you know, Big Big goes and gets sir. And
• 11:34
  Speaker 1: then the movie sort of picks up a few years
• 11:39
  Speaker 1: like what what have they been up to? Well? This
• 11:41
  Speaker 1: is even worse than I thought. This is just awful.
• 11:46
  Speaker 1: Good give it for Jeff guys. Wow, clear as a belt.
• 11:54
  Speaker 1: All right, Yeah, let's talk about the movie alright. So
• 11:56
  Speaker 1: the recap, Well, thankfully, the beginning of this movie recaps
• 12:01
  Speaker 1: the highlights of the show, which was very helpful for me.
• 12:04
  Speaker 1: There's cliffs I like, I like watching a movie alone
• 12:07
  Speaker 1: that you know is doing fan service that you don't
• 12:09
  Speaker 1: really understand. You're like, oh, someone is really enjoying this summer.
• 12:14
  Speaker 1: So there are four main characters. Obviously, we've got Charlotte
• 12:19
  Speaker 1: and her husband is Harry. Is that Mr Bald? Mr? Big?
• 12:23
  Speaker 1: Mr Bald? She had a husband during this series named
• 12:26
  Speaker 1: Trey Um, but he had erect all dysfunction and a
• 12:31
  Speaker 1: mean mom. Oh well they got a divorce, classic Trey.
• 12:37
  Speaker 1: So she and Harry are married and they've adopted a
• 12:40
  Speaker 1: baby from China. Lily Miranda has moved to Brooklyn with
• 12:45
  Speaker 1: her husband Steve and their son Brady. So far, so good. Good. Uh,
• 12:51
  Speaker 1: Samantha loves sex? Did you know she's gating like a
• 12:57
  Speaker 1: younger hottie actor Garrett Smith Jared Jarrett any man with
• 13:04
  Speaker 1: two first names I cannot trust. And then Carrie has
• 13:09
  Speaker 1: had this on again off again relationship with Big and
• 13:12
  Speaker 1: right now they're on do you think his name is
• 13:15
  Speaker 1: Jared Smith and he just doesn't know. Well, she meets
• 13:21
  Speaker 1: him and his name is like something stupid, and then
• 13:23
  Speaker 1: she's like, no, I'm going to fix you. Your name
• 13:25
  Speaker 1: is Okay. I did watch that episode, but brag. So
• 13:34
  Speaker 1: we flashed forward to the President where the movie picks up.
• 13:37
  Speaker 1: Carrie and Big are looking for apartments in New York City.
• 13:41
  Speaker 1: Ever heard of it? And that is exactly how the
• 13:44
  Speaker 1: movie Rosemary's Baby starts, just saying I thought of that too,
• 13:49
  Speaker 1: and I'm like, oh no, They're going to go into
• 13:51
  Speaker 1: a two big apartment and then things will start to
• 13:53
  Speaker 1: go wrong, and and that's what it kind of happens
• 13:59
  Speaker 1: the Devil as it turns out, basically basically, so they
• 14:03
  Speaker 1: find this expensive penthouse that Carrie falls in love with
• 14:07
  Speaker 1: pre war They say, that's so much and that's like
• 14:10
  Speaker 1: which war like And Chris Note is really turning in
• 14:14
  Speaker 1: one of the worst performances of the century in this movie.
• 14:17
  Speaker 1: He keeps turning to her with this shit eating grin
• 14:19
  Speaker 1: and it's like, yeah, I got a lot of money. Well,
• 14:22
  Speaker 1: because there is there is sort of like off camera
• 14:26
  Speaker 1: behind the scenes things happening. Kim Catrell and Sarah Jessica
• 14:30
  Speaker 1: Parker each other. I love it, hate each other, and
• 14:33
  Speaker 1: that's why it kind of took so long for the
• 14:35
  Speaker 1: movie to happen. Most recently there was so there's a
• 14:38
  Speaker 1: second one. We won't get into that. I cannot even
• 14:41
  Speaker 1: defend that one. Uh, there was gonna be a third one.
• 14:45
  Speaker 1: Kim Cantrell's brother died and Sarah Jessica Parker commented like
• 14:50
  Speaker 1: on her Instagram like I'm so sorry, I'm thinking about you,
• 14:53
  Speaker 1: and Kim Cattrell was like, go funk yourself. WHOA, I
• 14:57
  Speaker 1: don't need you and neither does my dead brother. And
• 15:01
  Speaker 1: then everyone was like, I guess the third movie is
• 15:03
  Speaker 1: not happening. So there is like this You're watching it
• 15:08
  Speaker 1: and like we know this. So you're watching the movie
• 15:10
  Speaker 1: being like these people hate each other and you know
• 15:12
  Speaker 1: it's over money and sort of fame. Maybe that's why
• 15:16
  Speaker 1: I liked it so much, just having coworkers have to
• 15:19
  Speaker 1: be together that don't like each other behind the scenes drama.
• 15:23
  Speaker 1: It truly does sustain me in many ways. Wait, is
• 15:25
  Speaker 1: there anything for note heads? Was he was he does? He?
• 15:29
  Speaker 1: Was he in a flight with anyone? No? But I
• 15:30
  Speaker 1: did see him on the street once in New York
• 15:33
  Speaker 1: and I was high, and I was like, I don't
• 15:35
  Speaker 1: know if I should say anything. I don't know if
• 15:36
  Speaker 1: I should say anything because he was so handsome, and
• 15:39
  Speaker 1: I just yes. When we were shoulder to shoulder and
• 15:43
  Speaker 1: he was carrying a briefcase and it's like, where are
• 15:44
  Speaker 1: you going? What do you have? In their scripts of
• 15:48
  Speaker 1: The Good Wife, like what business meeting do you have?
• 15:51
  Speaker 1: We got shoulder to shoulder and I turned to him
• 15:53
  Speaker 1: and I said, you're great, and he looked at me.
• 15:54
  Speaker 1: He goes, thanks kid, Oh that kid, because he didn't
• 16:00
  Speaker 1: like me. He didn't want to be talking to me.
• 16:03
  Speaker 1: But I was like, thanks for giving me what I wanted,
• 16:06
  Speaker 1: what I needed. I promise I won't interrupt anymore after this.
• 16:09
  Speaker 1: I do have a quick Chris notath Alfred Molina crossover
• 16:12
  Speaker 1: into Okay, So on my old Twitter account before I
• 16:17
  Speaker 1: got frozen, I once tweeted, just so everyone knows Chris
• 16:22
  Speaker 1: No is the poor man's Alfred Molina. This was years ago.
• 16:26
  Speaker 1: Apparently both Chris No. Because I didn't tag anyone. I'm
• 16:30
  Speaker 1: not tacky like that. I just was a general thought.
• 16:33
  Speaker 1: And apparently both Chris North and Alfred Molina regularly searched
• 16:37
  Speaker 1: their own names on Twitter, because they both replied with
• 16:41
  Speaker 1: compliments to each other. Where Alfred was sorry, Freddy my
• 16:45
  Speaker 1: friend replied saying I think Chris Not is the best
• 16:50
  Speaker 1: Chris No he can be. It was kind of best
• 16:53
  Speaker 1: if aggressive, and then you know, Chris Not was like,
• 16:56
  Speaker 1: thanks buddy, your loved you and Spiderman too. It was
• 16:59
  Speaker 1: so nice. And then if I recall you then tweeted
• 17:03
  Speaker 1: back at Alfred Molina and you were like, please come
• 17:05
  Speaker 1: on the Bechtel Cast and then sure enough, two years
• 17:08
  Speaker 1: later he do that. So that's nice, great, thank you
• 17:15
  Speaker 1: for the snap. Thank you very much. Someone snapped and
• 17:17
  Speaker 1: it was beautiful, So okay, uh, we've So they're looking
• 17:21
  Speaker 1: for departments. They find this expensive one and Big is like,
• 17:24
  Speaker 1: I got this, babe. And Carrie is trying to figure
• 17:28
  Speaker 1: out what to do with her apartment. She's considering selling it,
• 17:31
  Speaker 1: but she's worried what might happen if, like she and
• 17:34
  Speaker 1: Big split up again, because they have like five hundred
• 17:37
  Speaker 1: times at this point. It's a lot, I guess. And
• 17:40
  Speaker 1: but so they're not married, so she would have no
• 17:42
  Speaker 1: legal rights to this property because he bought the whole thing.
• 17:46
  Speaker 1: So he's like, okay, let's get married, and she's like, okay, cool,
• 17:51
  Speaker 1: let's do that, and then they start planning the wedding.
• 17:54
  Speaker 1: She gets featured in Vogue. There's a whole photo she's
• 18:00
  Speaker 1: agends and then she's like, you're old, and you're just like,
• 18:03
  Speaker 1: no kids bringing you're old, but no one says that,
• 18:06
  Speaker 1: and then the scenes over, and then she is given
• 18:10
  Speaker 1: address by Vivian Westwood, who I guess as a fancy designer,
• 18:14
  Speaker 1: but I'm too poor to know that. Gwen Stefani says
• 18:17
  Speaker 1: her name in a song, Oh no kidding, so you
• 18:20
  Speaker 1: know she is cool. Then we get some subplots that
• 18:26
  Speaker 1: take up time. Uh, there is some tension between Miranda
• 18:31
  Speaker 1: and her husband Steve. They hardly have sex anymore. And
• 18:35
  Speaker 1: then we've got Samantha and her boyfriend Smith. Their sex
• 18:40
  Speaker 1: life is also kind of like slowing down because she's
• 18:42
  Speaker 1: so horny and she just can't get enough sex. And
• 18:45
  Speaker 1: there's a lot of stuff revolving like some very expensive
• 18:48
  Speaker 1: ring in the wrong person bought the ring, and it's
• 18:50
  Speaker 1: like we're relating to it, we're feeling it. Yes, stars
• 18:54
  Speaker 1: on a ring. I wanted to buy it for myself.
• 18:58
  Speaker 1: And then she start spying on her new neighbor who's
• 19:03
  Speaker 1: always fucking as well. Yeah, that's weird. So then Carrie
• 19:08
  Speaker 1: starts to move out of her apartment and then everything
• 19:11
  Speaker 1: is like fun and cool until Steve tells Miranda that
• 19:15
  Speaker 1: he had sex with another person and she's like, well
• 19:18
  Speaker 1: screw you then and she leaves. Meanwhile, Big, he's not
• 19:23
  Speaker 1: taking the wedding planning seriously. This is his third marriage.
• 19:26
  Speaker 1: He's over. He's like, if a funk about weddings, he's yeah,
• 19:29
  Speaker 1: he's prepping for season one of the Good Wife. He's like,
• 19:32
  Speaker 1: can we move this on? Julianna Margolie's is my good wife? Right?
• 19:38
  Speaker 1: Good Wife Wife? It's a very good show. Now that
• 19:42
  Speaker 1: was like the kind of show that I was like,
• 19:44
  Speaker 1: this show is fine, and then I was like, I'm
• 19:46
  Speaker 1: in season six and I literally could not tell you
• 19:50
  Speaker 1: a thing that happens in that show. I've never wanted.
• 19:52
  Speaker 1: He's good watching The Good Fight, I'm not. I don't
• 19:56
  Speaker 1: have four dollars. You don't want to spin off? Simply can't.
• 20:00
  Speaker 1: I watched The Good Place anyway. So at the rehearsal
• 20:06
  Speaker 1: dinner the night before the wedding, Steve shows up and
• 20:08
  Speaker 1: it really upsets Miranda, so She goes up to Big
• 20:11
  Speaker 1: and she's like, you are crazy for getting married. Married
• 20:14
  Speaker 1: druins everything, and so he decides you're right. Yeah. So
• 20:20
  Speaker 1: it's the day of the wedding. Big is trying to
• 20:22
  Speaker 1: contact Carrie and then like on her flip phone. Love it. Yes,
• 20:29
  Speaker 1: in of weirdly silent scene that child is only allowed
• 20:32
  Speaker 1: to speak twice in the entire movie, and there's moment's
• 20:36
  Speaker 1: room just like it would be so much less weird
• 20:39
  Speaker 1: if she had a line of dialogue here, but she
• 20:41
  Speaker 1: just looks from side to side and then like hides
• 20:43
  Speaker 1: the flip phone. She's like the most well behaved child
• 20:47
  Speaker 1: I've ever seen. It's implied that she watches Charlotte just
• 20:52
  Speaker 1: move carry out of her apartment for three days. It's like,
• 20:57
  Speaker 1: isn't she she looks like she should be in school there.
• 21:01
  Speaker 1: Big essentially he doesn't want to get out of the limo.
• 21:05
  Speaker 1: He is like, Carrie, I don't think we should do this,
• 21:09
  Speaker 1: and then she attacks him with her bouquet of flowers.
• 21:13
  Speaker 1: I did love that part, the beautiful scene. I love
• 21:16
  Speaker 1: that part visually beautiful. That was one of the few
• 21:18
  Speaker 1: times that I was like, I agree with Carrie right now.
• 21:22
  Speaker 1: I don't, but we'll talk about it. I like that.
• 21:25
  Speaker 1: And then we cut to a few days later, she
• 21:27
  Speaker 1: is just shaken to her core and her friends are
• 21:30
  Speaker 1: trying to comfort her. They go to Mexico and what
• 21:33
  Speaker 1: was supposed to be her honeymoon trip, she does the
• 21:37
  Speaker 1: same thing that Bella does in Twilight, when she basically
• 21:39
  Speaker 1: blacks out for seventy two hours and wastes away. And
• 21:44
  Speaker 1: then she's like, well, I have her laugh again. And
• 21:46
  Speaker 1: then Charlotte ships herself and then she laughed, and then
• 21:50
  Speaker 1: she laughed. Okay, I did like that part day. How fine? Uh,
• 21:57
  Speaker 1: something's happened for a while. And then New Year's Eve
• 22:00
  Speaker 1: rolls around and Miranda and carry hang out because they're
• 22:04
  Speaker 1: both single. That's such a beautiful scene too. It's like
• 22:07
  Speaker 1: the New Year's Eve song, but they do it. It's
• 22:09
  Speaker 1: like instruments, I just get a whole, but like, I
• 22:14
  Speaker 1: mentally don't feel like you did, like you may have,
• 22:17
  Speaker 1: but I feel like you could be especially She goes
• 22:21
  Speaker 1: back to New York and hires an assistant to like
• 22:23
  Speaker 1: help forget her life. This is how like disposable. The
• 22:27
  Speaker 1: Jennifer Hudson character is written to be as you can
• 22:29
  Speaker 1: forget to mention her, and the movie doesn't change. Yeah,
• 22:33
  Speaker 1: you really achieve diversity. Louise from St. Louis yea yeah.
• 22:38
  Speaker 1: And then Big is still trying to get in touch
• 22:40
  Speaker 1: with Carrie, but she like deletes his emails. She has
• 22:44
  Speaker 1: a new phone number. Carrie is one of those terrifying
• 22:46
  Speaker 1: women who's like, I refuse to you, like, learn how
• 22:49
  Speaker 1: to use the phone. I'm too rich, which they're out
• 22:53
  Speaker 1: there and I she doesn't know how to use a
• 22:55
  Speaker 1: computer either, No, and she refused. She's like, I'll hire someone.
• 22:58
  Speaker 1: I'm like, you bitch there and she dies her hair.
• 23:02
  Speaker 1: She does her hair is brown. Is the color of sadness. Yes,
• 23:07
  Speaker 1: I've found that to be charting. And then Charlotte, the
• 23:12
  Speaker 1: brown haired one, also the other brown haired one, finds
• 23:16
  Speaker 1: out she's gregnant. She's greg nant. Yes, she's got a
• 23:19
  Speaker 1: little gregg cooking in there. So now New Year's Eve
• 23:23
  Speaker 1: rolls around, and then Fashion Week happens for I gotta
• 23:30
  Speaker 1: get well. The thing is like, they need this whole
• 23:32
  Speaker 1: movie funded by various brands, and so there's entire there's
• 23:36
  Speaker 1: that whole scene in the pharmacy where you're like the
• 23:38
  Speaker 1: scene isn't necessary, but you're like, oh, but Gardnier, I
• 23:40
  Speaker 1: get it, you know, they just need various checks. And
• 23:45
  Speaker 1: then Miranda and Carry are hanging out on Valentine's Day
• 23:48
  Speaker 1: and Carrie is like, maybe it was my fault, Maybe
• 23:52
  Speaker 1: that's why Big left, And then Miranda is like, well,
• 23:56
  Speaker 1: it's actually because I told him that he was stupid
• 24:00
  Speaker 1: get married, even though that's clearly not Why so crazy?
• 24:04
  Speaker 1: Can you think of how many offhand things you've said
• 24:07
  Speaker 1: like this. I would have forgotten saying that within literally
• 24:09
  Speaker 1: two hours. I mean, I'm also getting married, and people
• 24:13
  Speaker 1: tell me all the time not to get married, are
• 24:15
  Speaker 1: you no, I'm like, listen, I gotta get divorced on
• 24:19
  Speaker 1: my own, you know, like I have to go on
• 24:22
  Speaker 1: the journey. I understand that, but it's a lesson I
• 24:25
  Speaker 1: have to learn the hard and expensive, catastrophic way. Big
• 24:29
  Speaker 1: reacts to that as if it is the first time
• 24:31
  Speaker 1: he's heard it, but we already knew been married t
• 24:34
  Speaker 1: He's just like, wait a second, he's a week He's
• 24:37
  Speaker 1: a weak man that I have a whole go into
• 24:40
  Speaker 1: about this later on insane. But Miranda is acting like
• 24:44
  Speaker 1: it's this big secret she's been keeping, and then Carrie
• 24:47
  Speaker 1: reacts in such a way that she's I mean, she's
• 24:50
  Speaker 1: furious she gets stuck on a bunch of balloons, right. Yeah.
• 24:53
  Speaker 1: Visually reminds me of like at my birthday party last year,
• 24:57
  Speaker 1: so many people confronted my then at the time new
• 25:00
  Speaker 1: boyfriend for longboarding there, and you know, he stuck around,
• 25:04
  Speaker 1: where's the longboard in the trash where I put it?
• 25:07
  Speaker 1: You know. So it's like, you know, relationships should be
• 25:10
  Speaker 1: able to weather these comments, is what I'm saying. Yes,
• 25:13
  Speaker 1: So eventually Carrie forgives Miranda, and then she starts to
• 25:17
  Speaker 1: figure out how she can forgive Steve. There's a whole
• 25:21
  Speaker 1: brooklyn Bridge reunion. They get back together. Samantha is horny
• 25:26
  Speaker 1: still for her neighbor, but she's like, I'm with Smith.
• 25:30
  Speaker 1: I can't fuck my neighbor. So then she dumps Smith,
• 25:34
  Speaker 1: which I thought was one of the Like, Samantha does
• 25:38
  Speaker 1: a number of things that are just horrible in this
• 25:41
  Speaker 1: movie that I hate, But the speech she gives to
• 25:44
  Speaker 1: her hottie boyfriend who loves her, I really did like,
• 25:48
  Speaker 1: because she's like, I like being in a relationship with
• 25:51
  Speaker 1: myself more than I like being in a relationship with you.
• 25:53
  Speaker 1: And he was like that tracks, Yeah, that's fine. He's
• 25:55
  Speaker 1: so chill about it. It was after Naked Sushi yea. Also,
• 26:01
  Speaker 1: Samantha's like B plotline is that she gained ten pounds,
• 26:05
  Speaker 1: right that is that It's just like and yeah, who
• 26:13
  Speaker 1: knows that's what that but that is like the implied
• 26:17
  Speaker 1: wake up call of like she needs to break up
• 26:19
  Speaker 1: with her wealthy TV actor boyfriend who's obsessed with her whatever.
• 26:25
  Speaker 1: And then Charlotte, she's at this point gregnant as hell.
• 26:30
  Speaker 1: Greg is ready, She's to come. Greg's kicking and uh.
• 26:35
  Speaker 1: One day, she's having lunch by herself and she sees
• 26:37
  Speaker 1: Big and she's like, I'm so mad at you. And
• 26:40
  Speaker 1: then she's so mad that her water breaks. God, it's
• 26:43
  Speaker 1: like the one, like one of the few cathartic moments
• 26:46
  Speaker 1: in this movie. She's like, I fuck you, you suck.
• 26:49
  Speaker 1: And then two seconds later she's like I need you,
• 26:52
  Speaker 1: like you're like, god, damn it. So she takes her
• 26:54
  Speaker 1: to the hospital and then Carrie shows up and they're like,
• 26:57
  Speaker 1: he was waiting here for you. He still loves me,
• 27:00
  Speaker 1: you he wrote you all these love letters and she's like,
• 27:02
  Speaker 1: what love letters? And then she goes into the email
• 27:04
  Speaker 1: file of all the ones she took how do use email?
• 27:07
  Speaker 1: Because relationships are sacrifice. Yeah, then they retyped a book
• 27:12
  Speaker 1: he copied and other people's writing and then wrote two sentences,
• 27:17
  Speaker 1: and she's like good enough, good enough. She goes back
• 27:20
  Speaker 1: to the apartment that he bought for her and then
• 27:23
  Speaker 1: is selling again because she likes the shoe. She likes.
• 27:27
  Speaker 1: She loves shoes. Jennifer Hudson. She called Jennifer Hudson. By
• 27:30
  Speaker 1: the way, Jennifer Hudson is getting married, not that it
• 27:32
  Speaker 1: has any relevance in the point. She's back in St. Louis,
• 27:34
  Speaker 1: she's not even in New York, but yeah, she's back
• 27:37
  Speaker 1: at home. And then she has to call to give
• 27:39
  Speaker 1: Carrie one more plot point, which is that there's a
• 27:41
  Speaker 1: shoe somewhere. That's truly what happens. What if Carrie goes
• 27:47
  Speaker 1: into that closet and instead of shoes, it's like the
• 27:50
  Speaker 1: pathway to devil worshiping cult like in Rosemary's Face. Was
• 27:56
  Speaker 1: it really in the closet that that was where there
• 27:58
  Speaker 1: was or there was like remember they moved the like
• 28:00
  Speaker 1: that big piece of furniture, And then there's a plan
• 28:02
  Speaker 1: that she moves the back of the closet and then
• 28:04
  Speaker 1: there's like The Hallway to the Cult House that is
• 28:08
  Speaker 1: such a better movie and it was made by like
• 28:10
  Speaker 1: the most famous molester. It's just like this movie is bleak.
• 28:15
  Speaker 1: What if she goes in the closet and Big is
• 28:19
  Speaker 1: fucking his secretary and she's like, well, my Manola blonics
• 28:22
  Speaker 1: are here some I'll marry you anyway. I mean, that's
• 28:26
  Speaker 1: that's about where her standards are at. Yeah. So he's like, oh,
• 28:32
  Speaker 1: I'm sorry, this is holding your shoe in my hand
• 28:35
  Speaker 1: thinking of you. And then she's like, let's oh man,
• 28:39
  Speaker 1: I love you, and he's like, let's get married again.
• 28:42
  Speaker 1: This time I won't leave. So it ends. The movie
• 28:45
  Speaker 1: ends the same way the TV show ended again, I
• 28:48
  Speaker 1: get married, but this time they got in a simple
• 28:53
  Speaker 1: Chanel vintage suit. Because the symbolism is she didn't need
• 28:58
  Speaker 1: the big dress, she just needed channel. She just need
• 29:01
  Speaker 1: what she wanted the whole time. She should have settled.
• 29:04
  Speaker 1: I mean, she just needed the man, as every woman
• 29:07
  Speaker 1: in this movie does. And then there at the courthouse,
• 29:12
  Speaker 1: the gals are there to surprise her. Then that's Jennifer
• 29:15
  Speaker 1: Huden doesn't even get to go. She's trapped in St. Louis.
• 29:20
  Speaker 1: God but that's the movie of Texas City two eight
• 29:24
  Speaker 1: the movie al Right, where do we oh, gosh, I
• 29:36
  Speaker 1: don't know, well, I guess Megan, what was your your
• 29:40
  Speaker 1: your first impression of this movie like versus the TV show?
• 29:44
  Speaker 1: Do you feel like it's a big departure from the
• 29:45
  Speaker 1: TV show or like or how did you feel about it?
• 29:48
  Speaker 1: So I went into it and every the press had
• 29:51
  Speaker 1: been like this movie is bad, and so expectations were low.
• 29:55
  Speaker 1: The soundtrack is very good, and the fashion and is
• 30:00
  Speaker 1: sort of the through line that they were able to
• 30:02
  Speaker 1: bring from. It's a Patricia Field and it's like, listen,
• 30:05
  Speaker 1: she did the show. Everyone looked cool and great. She
• 30:09
  Speaker 1: did the movie. Everyone looked cool and great, and then
• 30:11
  Speaker 1: you're just kind of like plugging them in different they
• 30:15
  Speaker 1: give you. They sort of like scratched the itch. There
• 30:18
  Speaker 1: is a montage of Carrie cleaning out her closet and
• 30:22
  Speaker 1: you see all of her like iconic looks. There's two
• 30:25
  Speaker 1: dress yes, yes, yes, And the thing is I could
• 30:28
  Speaker 1: have used another one, you know, like never enough for me,
• 30:32
  Speaker 1: And I did want Steven Miranda to get back together,
• 30:36
  Speaker 1: and I like everybody's kids, what else you need? Ye?
• 30:42
  Speaker 1: So yeah, the show is I know you would disagree
• 30:45
  Speaker 1: the show is better. Um it was Emmys, you know,
• 30:49
  Speaker 1: and this is not gonna win anything. But if you
• 30:52
  Speaker 1: were like a fan of the show, I think you
• 30:55
  Speaker 1: would watch the movie and be like, this is a
• 30:58
  Speaker 1: nice warm cup of cocoa. Yeah, there's a like there's
• 31:02
  Speaker 1: a few and I guess like we were operating on
• 31:04
  Speaker 1: limited sex in the city knowledge here. But I mean
• 31:07
  Speaker 1: for most movies, I I would be I'm like always like, oh, like,
• 31:12
  Speaker 1: why aren't there people of multiple classes portrayed and all that?
• 31:15
  Speaker 1: But for this franchise in particular, there's a lot of
• 31:18
  Speaker 1: things like the lack of like diversity and like the
• 31:23
  Speaker 1: very like bizarrely poor way at handles queerness given that
• 31:27
  Speaker 1: the creator is queer, Like I take extreme issue with
• 31:30
  Speaker 1: all of that. But the class stuff I feel like
• 31:33
  Speaker 1: I weirdly exclude from this conversation because I feel like
• 31:36
  Speaker 1: it was designed as an escapist fantasy for women, and
• 31:41
  Speaker 1: it has like a complicated legacy in general, and that's
• 31:44
  Speaker 1: been good. Lord hasn't been written to death the legacy
• 31:49
  Speaker 1: of this franchise. But I feel like in this like
• 31:53
  Speaker 1: we can do the same five complaints everyone has about
• 31:56
  Speaker 1: this show of like how does care you for this
• 31:58
  Speaker 1: one of freelance writer salary, Like it written like it
• 32:00
  Speaker 1: is a fantasy and you're supposed to you know. And
• 32:04
  Speaker 1: and when this franchise was kind of like forward thinking
• 32:08
  Speaker 1: in a little bit different, which is like maybe the
• 32:09
  Speaker 1: first few seasons of this show and definitely not by
• 32:12
  Speaker 1: two thousand and eight, Like it's cultural usefulness was kind
• 32:16
  Speaker 1: of behind it, and it was there for fans, but
• 32:18
  Speaker 1: I don't know, I I appreciate it as an escapist idea.
• 32:23
  Speaker 1: And and there are like it's so often that whenever
• 32:26
  Speaker 1: there is a franchise that's targeted at women specifically, however
• 32:30
  Speaker 1: flawed it is. But like we've talked about Twilight, We've
• 32:33
  Speaker 1: talked about Fifty Shades of Gray, We've talked about a
• 32:35
  Speaker 1: bunch of franchises directed at women, and there's just like
• 32:38
  Speaker 1: always this implicit shame about it to anyone who enjoys
• 32:43
  Speaker 1: it in any capacity. That sucks, because like we've also
• 32:47
  Speaker 1: done fucking Blade Runner, We've done like every movie, like
• 32:52
  Speaker 1: every stupid movie directed to guys, and and it's like,
• 32:56
  Speaker 1: you know, women get should get dumb stuff too, um,
• 33:00
  Speaker 1: and yeah, that's my feminism too well. And I also
• 33:07
  Speaker 1: think Sex in the City got a bit of a
• 33:09
  Speaker 1: pass because it was in the ninth like when it premiered.
• 33:14
  Speaker 1: I think it was like things that was a different
• 33:18
  Speaker 1: time obviously, and in their defense, they were like, well,
• 33:21
  Speaker 1: we're talking so openly about sex, and we're having women
• 33:25
  Speaker 1: talk about sex, and so everyone kind of looked the
• 33:28
  Speaker 1: other way on all those other issues, to the point
• 33:32
  Speaker 1: that when Girls started, which very much kind of stepped
• 33:35
  Speaker 1: into that same time slot need demographic, and everyone was like,
• 33:43
  Speaker 1: where the funk are all the black people. Lena Dunnam
• 33:47
  Speaker 1: was like, but Sex in the City didn't have any
• 33:49
  Speaker 1: black people, and it's like, yeah, that was a long
• 33:53
  Speaker 1: time ago, and people are mad at them now. And
• 33:55
  Speaker 1: I think that's why Girls had so much backlash is
• 34:00
  Speaker 1: because some of it was like delayed Sex in the
• 34:03
  Speaker 1: City backlash. Yeah, I agree. I mean it's I don't know, like, yeah,
• 34:08
  Speaker 1: anything that anyone says about this is always going to
• 34:10
  Speaker 1: be like loaded and weird and complicated. But on its surface,
• 34:14
  Speaker 1: like there were like in in like the pilot of
• 34:17
  Speaker 1: the show did did a little homework and it's like
• 34:19
  Speaker 1: this is like one of the first shows that acknowledged
• 34:22
  Speaker 1: queer people. However, poorly written as a part of other
• 34:26
  Speaker 1: people's lives, specifically queer men. Queer men. Yes, the show
• 34:30
  Speaker 1: kind of except for it, I think one Samantha lesbian
• 34:34
  Speaker 1: for like eisde But other than that, the show seems
• 34:39
  Speaker 1: to erase queer women altogether. That is true. And she
• 34:43
  Speaker 1: ends up like breaking up with her girlfriend because she's like,
• 34:46
  Speaker 1: you're so neaty, Like it's not even a good representation.
• 34:50
  Speaker 1: But they do take baths together and and it is like,
• 34:54
  Speaker 1: I mean, like all like, we've covered so many movies
• 34:57
  Speaker 1: that take place in the late nineties, and it's weird
• 34:59
  Speaker 1: because even though the this movie comes out in two eight,
• 35:02
  Speaker 1: it is still the late nineties in the world of
• 35:05
  Speaker 1: this franchise for its entirety, which is why for oh eight,
• 35:09
  Speaker 1: I'm sure it was poorly reviewed because the world had
• 35:11
  Speaker 1: mostly just like moved on from that like way of
• 35:14
  Speaker 1: women being portrayed. Uh So, I feel like this is
• 35:18
  Speaker 1: a late nineties movie in a way, and it is
• 35:21
  Speaker 1: like it sort of subscribes to like I almost think
• 35:24
  Speaker 1: of it the way that you think of like the
• 35:26
  Speaker 1: Spice Girls in a way where you're like it is
• 35:29
  Speaker 1: like feminism, like girl power that's trying to sell you
• 35:32
  Speaker 1: something quite aggressively, and it's you know, it's like, oh yeah,
• 35:37
  Speaker 1: like women are in powered as long as you fucking
• 35:39
  Speaker 1: have money are white and our head around right yeah,
• 35:44
  Speaker 1: So I mean it is like just right off the top,
• 35:47
  Speaker 1: it is peak all of that, and we understand that. Yes, yes, indeed,
• 35:52
  Speaker 1: I did write. The first thing I wrote in my
• 35:54
  Speaker 1: notes is women be shopping the movie. So but they
• 36:00
  Speaker 1: and they be, they be shopping. That does not disappoint
• 36:04
  Speaker 1: if you're looking for women be shopping representation this movie
• 36:07
  Speaker 1: delivers I honestly. I mean it's like, why watched this
• 36:10
  Speaker 1: movie if you don't want to see women shopping? It
• 36:14
  Speaker 1: is visibility for women movie shopping. And then another thing,
• 36:18
  Speaker 1: good thing, which we touched on briefly, but this, as
• 36:22
  Speaker 1: far as I understand, it was one of the first
• 36:25
  Speaker 1: kind of mainstream things that was about sex positivity, especially
• 36:30
  Speaker 1: for women, and that it kind of an open opened
• 36:33
  Speaker 1: up some conversations, um that helped kind of lead to
• 36:37
  Speaker 1: a more sex positive era. And then do you remember,
• 36:41
  Speaker 1: I mean it's like, and I didn't watch this show
• 36:43
  Speaker 1: when it was airing, but even I was like familiar
• 36:46
  Speaker 1: with and I know, we look at it now and
• 36:48
  Speaker 1: we're like obviously this is like one of the least
• 36:51
  Speaker 1: diverse franchises, but the like hatred directed at Sarah Jessica
• 36:56
  Speaker 1: Parker for how she looked like was so intense, and
• 37:01
  Speaker 1: that for the kind of grounds it in, like of
• 37:04
  Speaker 1: when it came out of like you couldn't even have
• 37:07
  Speaker 1: a face that wasn't the same face as everyone else
• 37:10
  Speaker 1: without people just piling on you, and you just think about, like,
• 37:13
  Speaker 1: I mean, if I was Sergic, I mean, how how
• 37:16
  Speaker 1: must that feel? That must feel like sucking dogshit. I've
• 37:18
  Speaker 1: read my YouTube comments before bad. Yeah, there's like I'm
• 37:24
  Speaker 1: so sorry to bring up Family Guy, but okay, there's
• 37:30
  Speaker 1: a I think it's a family Guy joke where they
• 37:33
  Speaker 1: like compare her face to a foot. I want to say, yeah,
• 37:37
  Speaker 1: it's a lot, there's a lot. I don't know why,
• 37:39
  Speaker 1: I'm can I list there's a foot and horse I remember,
• 37:44
  Speaker 1: and it's just like it's it's just like, yeah, she's
• 37:47
  Speaker 1: a hot, thin heatero white lady and even she couldn't
• 37:51
  Speaker 1: you know, Like so, I mean, it's just such a weird,
• 37:54
  Speaker 1: complicated subject. Well, let's let's really dive the weeds. The bush,
• 38:03
  Speaker 1: Miranda's bush, Miranda's bush, is my favorite character in the movie.
• 38:08
  Speaker 1: I was like, Oh, that's that's me, that's me. I
• 38:11
  Speaker 1: feel seen um for once. So the big things for
• 38:16
  Speaker 1: me for this movie is in addition to the things
• 38:21
  Speaker 1: that've already been talked about to death, which is, you know,
• 38:23
  Speaker 1: the lack of racial diversity, the weird representations of queerness, um,
• 38:30
  Speaker 1: the class thing, which I do kind of take issue with,
• 38:33
  Speaker 1: but this movie is and I know this is the
• 38:37
  Speaker 1: point of the show, Sex and the City, show, the
• 38:40
  Speaker 1: whole franchise, but these women's lives are so consumed by men.
• 38:46
  Speaker 1: Because the show is about sex and relationships, and because
• 38:49
  Speaker 1: they're all hetero women, it ends up being that they
• 38:51
  Speaker 1: their lives revolve around the men were with. And yes,
• 38:55
  Speaker 1: we do know what their jobs are, and sometimes we
• 38:57
  Speaker 1: see them at work in this movie not as much.
• 39:00
  Speaker 1: We really only see them as they their storylines are
• 39:05
  Speaker 1: all in relationship to men, and they're just lives are
• 39:07
  Speaker 1: completely revolving around men, so that it does not mode
• 39:12
  Speaker 1: well for me. So another question, how what was the
• 39:18
  Speaker 1: balance between like their relationships and then they're like job
• 39:22
  Speaker 1: stuff in the series I do. I mean, Miranda went
• 39:26
  Speaker 1: to Harvard and she had a whole plot line about
• 39:30
  Speaker 1: trying to make partner and how difficult it was when
• 39:33
  Speaker 1: she had Brady, and so her job definitely was I mean,
• 39:38
  Speaker 1: you know that she works. I guess being a Harvard
• 39:41
  Speaker 1: educated lawyer is not quote unquote relatable, but she was
• 39:45
  Speaker 1: a businesswoman and that's how she identified. Well, someone with
• 39:48
  Speaker 1: a master's agree in screenwriting from Boston University, it's actually
• 39:52
  Speaker 1: pretty relatable. So but like her and and they very
• 39:55
  Speaker 1: much dressed them for their jobs. So Miranda was always
• 40:01
  Speaker 1: in sort of like a two piece suit. And then
• 40:04
  Speaker 1: Samantha was a publicist, but like a very very good one,
• 40:08
  Speaker 1: and there were allusions to the fact that she had
• 40:11
  Speaker 1: really hustled and worked her way up. We don't really
• 40:14
  Speaker 1: ever find out how Carrie got this column, but she
• 40:18
  Speaker 1: has it, and then at some point she sells a book.
• 40:20
  Speaker 1: And I think because in the movie she does not
• 40:22
  Speaker 1: work at all, she has written three books and she's
• 40:27
  Speaker 1: living off of that. And then Charlotte worked at galleries.
• 40:31
  Speaker 1: So the jobs that women are allowed to have in
• 40:33
  Speaker 1: rom coms, working at a galley, working at magazine, Laura,
• 40:37
  Speaker 1: but only if you're a bit yeah, and a publicist. Yeah.
• 40:41
  Speaker 1: The way the movie does it, I don't know yeah,
• 40:43
  Speaker 1: the way the movie does it is egregious. No one's
• 40:46
  Speaker 1: job is relevant really for both Carrie and Samantha at
• 40:51
  Speaker 1: this point when we you know, we see them in
• 40:54
  Speaker 1: the movie, even their professional lives are centered around their
• 40:57
  Speaker 1: relationships in general or relationships because because Samantha has like
• 41:02
  Speaker 1: basically made her client but him like, yeah, she's basically
• 41:09
  Speaker 1: his momager. And then and then Carrie just writes about
• 41:12
  Speaker 1: you know, her hetero love partners and sex and even
• 41:16
  Speaker 1: though she hates computers. You're like writer. But I also
• 41:20
  Speaker 1: have no idea what Big does. What he's like, I
• 41:26
  Speaker 1: I mean, like I'm guessing finance, hedge fund, venture capitalist.
• 41:32
  Speaker 1: He's definitely rich, but it's never said what he does
• 41:37
  Speaker 1: in anyway. We don't even actually know. His name is
• 41:39
  Speaker 1: John think she got three names, John, Joseph Jingle sit. Yeah,
• 41:46
  Speaker 1: that is his name. That as a runner in the series.
• 41:48
  Speaker 1: So they don't really put a lot of weight on
• 41:51
  Speaker 1: I mean, like Steve owns a bar and it's like, no,
• 41:54
  Speaker 1: you don't, Steve, I mean you do, but you don't.
• 41:58
  Speaker 1: What does the bald guy do? Um? He is a lawyer.
• 42:01
  Speaker 1: He was actually Charlotte's divorce lawyer. Okay, sure, which for
• 42:10
  Speaker 1: her like pretty convenient. But her issue with him, she
• 42:13
  Speaker 1: was like, he's ugly, but I guess he is rich,
• 42:15
  Speaker 1: so let's putting his work, so I'll marry it. Wow,
• 42:20
  Speaker 1: his mom I like his mom. I think his mom
• 42:23
  Speaker 1: is dead like something where she was like jack pot.
• 42:27
  Speaker 1: That is so dark. Okay. The other thing that really
• 42:32
  Speaker 1: really bugs me about this movie, again, aside from all
• 42:35
  Speaker 1: this stuff that has regularly talked about, is that these
• 42:38
  Speaker 1: women are so reactionary and they overreact to everything, which
• 42:46
  Speaker 1: plays into the you know stereotypes that like women just
• 42:50
  Speaker 1: are so emotional and we can't control our emotions, and
• 42:55
  Speaker 1: you know, we're incapable of being a lot reasonable and
• 42:58
  Speaker 1: anything like that. Because the plot of the movie only
• 43:01
  Speaker 1: happens because Carrie, what I think is a huge overreaction
• 43:06
  Speaker 1: to Big having some second thoughts about the wedding, like
• 43:12
  Speaker 1: he well, my let's because how I I would feel
• 43:21
  Speaker 1: that way if that were the first time he had
• 43:23
  Speaker 1: done this. But this is clearly established, like this is
• 43:26
  Speaker 1: like the third, fourth, fifth time he has bailed on
• 43:29
  Speaker 1: her at the last minute. So I say, hit him
• 43:31
  Speaker 1: with a bouquet, and she even says, I knew you
• 43:34
  Speaker 1: would do this, right she's like mad at herself because
• 43:38
  Speaker 1: she's like, of course he was going to do. She
• 43:39
  Speaker 1: also should have picked up her fucking phone, you know,
• 43:42
  Speaker 1: like literally give me the damn phone. Yeah, that's true.
• 43:45
  Speaker 1: I mean, and and there are so many It's like
• 43:47
  Speaker 1: Chekhov's phone is put into this purse just so like
• 43:52
  Speaker 1: this will happen, but it I mean, I was refreshed
• 43:56
  Speaker 1: by that moment because I like, no, in my head
• 43:59
  Speaker 1: that even they break up, if they break up forty
• 44:01
  Speaker 1: five minutes into this two and a half hour long movie,
• 44:06
  Speaker 1: so they're gonna get back together at the end, which
• 44:08
  Speaker 1: I already find disappointing. The same thing with Steven Miranda
• 44:14
  Speaker 1: because I'm not attached to their relationship. And I really
• 44:16
  Speaker 1: was like, she should just break up with him if
• 44:18
  Speaker 1: he can't handle not having sex because she's raising his child,
• 44:21
  Speaker 1: sucking grow up. You're divorced now by like what, Like,
• 44:25
  Speaker 1: I just I I wanted both of the relationships in
• 44:29
  Speaker 1: Peril to actually end, So I really relished the moments
• 44:34
  Speaker 1: that they were like no, fuck you, You're you're like
• 44:37
  Speaker 1: a dipshit and like, you know, you said you'd show up,
• 44:41
  Speaker 1: fucking show up. I'm fine with those relationships ending if
• 44:45
  Speaker 1: they had, especially Big had done something to warrant it
• 44:49
  Speaker 1: a bit more ensure he maybe the bailor I am
• 44:53
  Speaker 1: not familiar enough with the show to have realized that.
• 44:56
  Speaker 1: I'm also not attached to the show. But I'm like,
• 44:59
  Speaker 1: bail on me three times. You're canceled, like he had.
• 45:03
  Speaker 1: He had said though, like I just want you. I
• 45:06
  Speaker 1: don't care about a wedding like da da da, And
• 45:09
  Speaker 1: then she she I feel like overreacts because she was
• 45:13
  Speaker 1: humiliated in public, even though it was front of her
• 45:16
  Speaker 1: close friends. And then I don't know, I just I
• 45:19
  Speaker 1: thought that was such a huge overreaction, and then maybe
• 45:23
  Speaker 1: that would have been so bad except that it keeps happening,
• 45:26
  Speaker 1: where then she freaks the funk out at Miranda. That
• 45:30
  Speaker 1: is stupid what that is? I mean, I think like
• 45:34
  Speaker 1: the herd Miranda, like that whole argument is set up
• 45:37
  Speaker 1: to be so stupid, like her passing comment doomed Carrie's marriage.
• 45:40
  Speaker 1: Then it's like, yeah, they shouldn't have gotten married. Big
• 45:44
  Speaker 1: is like a lamo coward. Don't marry him. But I mean, yeah,
• 45:50
  Speaker 1: their their whole friendship being in peril like there that
• 45:52
  Speaker 1: had to have that needed to be like a stronger
• 45:54
  Speaker 1: storyline because it makes her look really weird and petty
• 45:57
  Speaker 1: and like, and it makes Miranda looks stupid it, which
• 46:00
  Speaker 1: we know she's canonically not so Yeah, but then like
• 46:05
  Speaker 1: Samantha freaks out at Smith and like throw sushi at HM.
• 46:10
  Speaker 1: That was dumb too, I didn't I didn't like that.
• 46:13
  Speaker 1: And then m Carrie throws her phone off of the
• 46:16
  Speaker 1: clip carry yeah she chi And then Miranda, I feel
• 46:22
  Speaker 1: like her being upset with Steve being unfaithful to her
• 46:27
  Speaker 1: was more of a warranted thing. But also she just
• 46:30
  Speaker 1: like she refused to talk about it, she refused to
• 46:32
  Speaker 1: do anything. She was just like I'm leaving forever. And
• 46:35
  Speaker 1: then they get back together, so as do Carrie and Big.
• 46:40
  Speaker 1: So we see that these women I guess are capable
• 46:43
  Speaker 1: of forgiveness and growth, which seems so they're good Christians whatever, like,
• 46:49
  Speaker 1: but it just like the reactionary responses that we're just
• 46:54
  Speaker 1: like so steeped and like women be crazy with their emotions.
• 46:58
  Speaker 1: Like I couldn't really get past that. Yeah, I don't know,
• 47:01
  Speaker 1: I mean, and and was that true in the show.
• 47:03
  Speaker 1: I feel like I do always appreciate and I think
• 47:06
  Speaker 1: that this movie shows like really none of this. But
• 47:09
  Speaker 1: I do always appreciate when you see like women making
• 47:13
  Speaker 1: mistakes but are still you know, you're still rooting for them,
• 47:17
  Speaker 1: because there is such a tendency we talk about all
• 47:19
  Speaker 1: the time towards like Mary Sue, female characters who cannot
• 47:23
  Speaker 1: make a mistake because women get one chance on screen
• 47:26
  Speaker 1: or in life, and if and if you funk up,
• 47:29
  Speaker 1: you know you're you're dead to the world. So I
• 47:32
  Speaker 1: do appreciate like when women funk up in a sympathetic way,
• 47:37
  Speaker 1: but I feel like that doesn't really I feel like
• 47:39
  Speaker 1: that might happen in the show sometimes where you're like Carrere,
• 47:42
  Speaker 1: you dumbass, but in the show they're way crazier. Really,
• 47:46
  Speaker 1: I think, so yeah, time, I mean, listen, you've got
• 47:50
  Speaker 1: to get people to tune in every Sunday. There's still drama.
• 47:53
  Speaker 1: There was a guide that, um, I mean they would
• 47:57
  Speaker 1: they would break up with men for the crazy is
• 48:00
  Speaker 1: things like there was a guy who would like eat
• 48:02
  Speaker 1: Miranda's pussy and then like she didn't like he like
• 48:06
  Speaker 1: wasn't wiping his face and then she was like, you're
• 48:08
  Speaker 1: out of here, and it's like I wipe his face
• 48:10
  Speaker 1: for like I've never seen this ship. I've never seen
• 48:12
  Speaker 1: that episode, and I remember that because it looked like
• 48:15
  Speaker 1: a glazed donut. Yeah, And I thought of that the
• 48:18
  Speaker 1: first time that happened to me, and I was like,
• 48:19
  Speaker 1: it's like the things, you know, they there were relationships
• 48:24
  Speaker 1: in the show that they threw away because that's the point,
• 48:28
  Speaker 1: you know, like that's the vehicle, is them breaking up
• 48:32
  Speaker 1: with people constantly to the point that you're like, you're
• 48:34
  Speaker 1: all going to be alone, which is fine, everybody is
• 48:38
  Speaker 1: allowed to be alone, but they all like, I don't
• 48:39
  Speaker 1: want to be alone except for Samantha really, and I
• 48:42
  Speaker 1: think that's kind of what the writers were doing for
• 48:46
  Speaker 1: the movie. They were like, we can't have all of
• 48:48
  Speaker 1: these couples work, so Smith and Samantha have to end.
• 48:53
  Speaker 1: But that's the couple that you're the least invested, right, um,
• 48:57
  Speaker 1: And like she's the character who should be with someone
• 49:01
  Speaker 1: the least, so that when that that's not even like
• 49:05
  Speaker 1: a big sacrifice in any way. But I did. I
• 49:08
  Speaker 1: was very, very invested in Stephen Miranda. I feel like, I,
• 49:13
  Speaker 1: Stephen Harry are like good guys. They really are. I
• 49:16
  Speaker 1: will see I I It's one thing, Okay, the thing
• 49:19
  Speaker 1: that bothered me about Steven Miranda who I don't know
• 49:22
  Speaker 1: what their history is, but like the thing that bothered
• 49:24
  Speaker 1: me about them getting back together was that it wasn't
• 49:27
  Speaker 1: Miranda's idea for them to get back together. Where it's
• 49:30
  Speaker 1: like I actually kind of understand that when she found out,
• 49:34
  Speaker 1: like it is set up for her, like we're fully
• 49:37
  Speaker 1: on her side where she is like I am like
• 49:41
  Speaker 1: being a lawyer five hundred hours a day, I'm raising
• 49:43
  Speaker 1: this kid. I've got to do all this stuff. Yeah,
• 49:47
  Speaker 1: she's helping his mom and he's like, why won't you
• 49:50
  Speaker 1: like me more? Like that sucks? And the fact that
• 49:53
  Speaker 1: she stands up for herself and it's kind of just
• 49:56
  Speaker 1: like I don't have time to fuck you right now,
• 49:59
  Speaker 1: Like I get it, Like it's it's just like I
• 50:03
  Speaker 1: feel like she, like a lot of women and people
• 50:06
  Speaker 1: in general can relate with that, like are you seriously
• 50:10
  Speaker 1: asking me to do this on top of like taking
• 50:12
  Speaker 1: care of your sick mom and your child who can't
• 50:15
  Speaker 1: stop like drule or whatever, like And then it seems
• 50:20
  Speaker 1: I feel like the movie implies the consequence of that
• 50:22
  Speaker 1: is he cheats, and then she's made out to seem
• 50:25
  Speaker 1: mean for not wanting to deal with it right away
• 50:27
  Speaker 1: and not wanting to like forgive him right away, like no,
• 50:31
  Speaker 1: why that's so shitty and I and so if it
• 50:33
  Speaker 1: was her idea to be like, Okay, some time has passed,
• 50:37
  Speaker 1: I've had time to think about it, let's try counseling.
• 50:40
  Speaker 1: Then great. But it's like if like her friends pressure
• 50:42
  Speaker 1: her into it, like all three of them are like,
• 50:44
  Speaker 1: why won't you give Steve a chance and just give
• 50:47
  Speaker 1: her time? Yeah, but he has a free voice, but
• 50:51
  Speaker 1: he's like they're like, Miranda, come on and if I
• 50:57
  Speaker 1: need it, I'm sorry took somebody. And then they're like,
• 51:02
  Speaker 1: come on, Miranda. Well and some of their history, you know,
• 51:05
  Speaker 1: he has one test to call and they had sack
• 51:08
  Speaker 1: doesn't come up. They had sacks. She had like pity
• 51:12
  Speaker 1: sex with him, and that's when she got pregnant and
• 51:14
  Speaker 1: she was going to have an abortion. Carry went with
• 51:16
  Speaker 1: her and then she didn't have an abortion, which is
• 51:17
  Speaker 1: actually a plotline that I really, really really fucking hate
• 51:20
  Speaker 1: in the show and in Girls. It's like, both of
• 51:22
  Speaker 1: these women would have had abortions, and you're being extremely
• 51:25
  Speaker 1: offensive to the people that watched these shows that have
• 51:27
  Speaker 1: had abortions and didn't walk out of the clinic to
• 51:29
  Speaker 1: keep the baby. The fund has ever done that, so
• 51:34
  Speaker 1: they do have like and I think what they're saying
• 51:38
  Speaker 1: to Miranda sometimes in that for saying, they're like, listen,
• 51:41
  Speaker 1: you chose this bitch, and you got this bitch. So
• 51:44
  Speaker 1: you're trying to change someone and it's just not going
• 51:47
  Speaker 1: to happen. I just wish they'd just like let her
• 51:50
  Speaker 1: come to that conclusion on her own. But Miranda gets
• 51:53
  Speaker 1: in her own way. So they're like they all sort
• 51:55
  Speaker 1: of are having to like see their fatal flaws throughout
• 51:59
  Speaker 1: the movie, and Miranda is that she's stubborn and can
• 52:02
  Speaker 1: be like cold hearted. Charlotte's says that she likes to run.
• 52:07
  Speaker 1: Um carries is just very bad form by the way,
• 52:12
  Speaker 1: I know. I mean it's like I was like, what
• 52:15
  Speaker 1: is the movie about. It was Charlotte and she's afraid
• 52:17
  Speaker 1: she's going to have a mischaracter. She stops running, right,
• 52:20
  Speaker 1: that's her storyline. She I honestly didn't care reaction there,
• 52:25
  Speaker 1: I know, but I mean I I was actually kind
• 52:28
  Speaker 1: of relieved that Charlotte wasn't given too much to do
• 52:31
  Speaker 1: because I'm like, I do care about you the least. Yeah,
• 52:34
  Speaker 1: but her husband is great Harry's great. Mr Bald him,
• 52:38
  Speaker 1: make him part of the friend group. Get Charlotte. He
• 52:41
  Speaker 1: kind of it like he's always like he like shows
• 52:44
  Speaker 1: up and it's like hey, carry like he's he's always
• 52:48
  Speaker 1: opening doors with like a sympathetic look, and that's his
• 52:52
  Speaker 1: entire character. His whole thing was like, I know, I
• 52:55
  Speaker 1: just watched my wife give birth for the first time,
• 52:57
  Speaker 1: but you should really get back together with Mr Bay
• 53:01
  Speaker 1: like thank you, Mr baltie By, and I have to go,
• 53:05
  Speaker 1: you know, clip the symbolical cord. But he's awesome and tall. Yeah,
• 53:10
  Speaker 1: it's true. I mean, we can't take that from him.
• 53:18
  Speaker 1: I think I was just giving this some thought just now.
• 53:21
  Speaker 1: One of the reasons that I think this still feels
• 53:23
  Speaker 1: so much like a nineties era movie even though it
• 53:27
  Speaker 1: was made it came out in two thousand and eight,
• 53:30
  Speaker 1: is that the characters, from what I understand again from
• 53:34
  Speaker 1: the little that I've watched the show, the four women
• 53:36
  Speaker 1: are way more caricatures than they are real people, which
• 53:42
  Speaker 1: was how TV shows were written in the nineties, like that,
• 53:46
  Speaker 1: that's just how it was, and then they never evolved
• 53:49
  Speaker 1: past that in the movie, so they still feel like,
• 53:51
  Speaker 1: I mean, what do we know about Samantha. She likes
• 53:54
  Speaker 1: to funk. She brings it up in every scene she's in.
• 53:56
  Speaker 1: What do we know about Charlotte, She's like a goody
• 53:59
  Speaker 1: two shoe is like everything offends me, and I won't
• 54:02
  Speaker 1: eat anything if it's in Mexico because I that was
• 54:07
  Speaker 1: that whole scene was rough for everyone because they're like,
• 54:10
  Speaker 1: we hate food that wasn't made in America and pubic
• 54:12
  Speaker 1: hair was then going to Mexico is bad because I
• 54:19
  Speaker 1: don't think I mean, it's so unrealistic that they would
• 54:24
  Speaker 1: just be like, oh, these two people that were going
• 54:26
  Speaker 1: to come for their honeymoon, now we're gonna let for ump.
• 54:28
  Speaker 1: No business would do that. How do how do they
• 54:31
  Speaker 1: all just have time off? I mean, Miranda doesn't have
• 54:34
  Speaker 1: enough time to fuck, and now she has enough time
• 54:36
  Speaker 1: to get her passport and go to Mexico, like I
• 54:38
  Speaker 1: don't know where? Where's Brady? And then and then Harry.
• 54:43
  Speaker 1: I hate when nothing is wrong with people and they
• 54:46
  Speaker 1: have to be fed food, like like a little in
• 54:49
  Speaker 1: Little Women, Beth is fed food and it's like beauple
• 54:52
  Speaker 1: Fall and you're like, oh my god, she's dying because
• 54:54
  Speaker 1: you love these German kids too much, and like you love.
• 54:57
  Speaker 1: I just love watching people like slurp soup that are ill.
• 55:01
  Speaker 1: But it's like, carry, Harry is healthy. Can we respect
• 55:05
  Speaker 1: Harry is healthy? Healthy, She's in wedding shape. Okay, that's
• 55:10
  Speaker 1: usually when people are their best, and like one of
• 55:13
  Speaker 1: them is having like feed her yogurt, and it's like,
• 55:17
  Speaker 1: don't do this to them, like either eat the yogurt
• 55:21
  Speaker 1: or don't go to Mexico. She she shouldn't have gone.
• 55:24
  Speaker 1: She overreacted, and that's why she's so depressed. Like if
• 55:28
  Speaker 1: she just stopped to talk to Beg for a second,
• 55:32
  Speaker 1: reasonable person would he could have been like, hey, yes,
• 55:35
  Speaker 1: I am having cold feet some second thoughts, as many
• 55:39
  Speaker 1: many people do when they're about to get married. I'm
• 55:43
  Speaker 1: going to leave you at the altar, Caitlin, because this
• 55:45
  Speaker 1: is I there. I I still I think she should
• 55:49
  Speaker 1: have hit him with the bouquet. I do. I do
• 55:51
  Speaker 1: think it is like weird, poor form to be like, yeah, fine,
• 55:55
  Speaker 1: I'll go on my honeymoon, but I'll be a real
• 55:58
  Speaker 1: bitch about it, like just stay home. If that's the
• 56:01
  Speaker 1: everyone's being so bending over backwards. I also, this is
• 56:06
  Speaker 1: no offense to Cabo or wherever they were. I don't
• 56:09
  Speaker 1: think Carrie and Big would go to Mexico. I think
• 56:12
  Speaker 1: they would go to Greece and like rent a yacht.
• 56:14
  Speaker 1: I don't because hates people of colors, So I wouldn't
• 56:20
  Speaker 1: go to anywhere where you're like, well, it almost reminded
• 56:22
  Speaker 1: me of like kind of like a Wes Anderson he
• 56:24
  Speaker 1: move of like, let's just go to like a majority
• 56:27
  Speaker 1: non white country and use the people in the culture.
• 56:30
  Speaker 1: They're as set dressing for white people doing well, boy,
• 56:33
  Speaker 1: are you not gonna like Sex in the City to Yeah,
• 56:39
  Speaker 1: that one. It's crazy. It cost me um three to
• 56:43
  Speaker 1: rent this and Sex in the City to telling me
• 56:47
  Speaker 1: it costs fifty cents? Isn't that wild? And this and
• 56:53
  Speaker 1: Sex in the City of the movie is not good.
• 56:55
  Speaker 1: It was not worth four dollars. I can't I cannot
• 56:58
  Speaker 1: even conceive a fifty cent rental on YouTube would yield.
• 57:02
  Speaker 1: It's hard to know. Well, now that we're on this
• 57:06
  Speaker 1: road of how the show treats race, shall I just
• 57:10
  Speaker 1: open up with a quote that I have? Okay, So
• 57:15
  Speaker 1: this is from a piece in Refinery twenty nine by
• 57:20
  Speaker 1: Hunter Harris entitled Hunter Harris, uh friend of the show
• 57:24
  Speaker 1: because friend of me? Oh No, kidding. Thank you a
• 57:27
  Speaker 1: friend of yours. We went to college together. Amazing, Let's
• 57:32
  Speaker 1: get her on the show. Fine, Okay, the pieces entitled
• 57:38
  Speaker 1: for women of color? Who Loves sex in the City,
• 57:40
  Speaker 1: She says, quote. It was a show that was simultaneously
• 57:44
  Speaker 1: progressive and regressive, where people of color were either stereotypes
• 57:48
  Speaker 1: or punch lines. Even when Samantha or Miranda never carry
• 57:52
  Speaker 1: or Charlotte share their bed with a black or Latino suitor,
• 57:55
  Speaker 1: the lead character's empathy or curiosity never expanded beyond stereotypical
• 58:00
  Speaker 1: observations whispered amongst their narrow white social circles. New York
• 58:04
  Speaker 1: was the main character on the show that featured only
• 58:07
  Speaker 1: one type of New Yorker. Um. So that's this is
• 58:10
  Speaker 1: speaking specifically about the series rather than the movie, But
• 58:13
  Speaker 1: it does apply to the movie still, because the one
• 58:18
  Speaker 1: person of color that has any sort of narrative significance
• 58:21
  Speaker 1: is the assistant that Carry hires, which I am guessing
• 58:26
  Speaker 1: it's clearly a response to all the criticism the show
• 58:28
  Speaker 1: got is like, include more people of color, but then
• 58:31
  Speaker 1: the optics of like a working class black woman being
• 58:35
  Speaker 1: hired to work for a rich white lady, those optics
• 58:39
  Speaker 1: are not. I honestly also think they just really wanted
• 58:44
  Speaker 1: Jennifer Hudson on the soundtrack, and like that may have
• 58:48
  Speaker 1: actually trumped the fact that they were like, we need
• 58:50
  Speaker 1: a black person on the show, and this is like
• 58:53
  Speaker 1: peak Jennifer Hudson and I she had already won an Oscar.
• 58:56
  Speaker 1: I think they got her post Oscar to just like
• 59:00
  Speaker 1: be yeah, I truly, I mean, I just like stand
• 59:04
  Speaker 1: Jennifer Hudson heart and I did not know she was
• 59:06
  Speaker 1: in this movie. She is not used to her full talent,
• 59:09
  Speaker 1: and I feel like her role is essentially I mean
• 59:12
  Speaker 1: like you could even argue I think, and you know,
• 59:15
  Speaker 1: everyone's sound off in the comments, but I feel like
• 59:17
  Speaker 1: you could even reduce it to like kind of a
• 59:18
  Speaker 1: white savior narrative of like she applies for this assistant
• 59:21
  Speaker 1: job and then Carrie, you know, lifts her up and
• 59:24
  Speaker 1: like gives her a bag and like all the ship
• 59:26
  Speaker 1: and ugliest bag I've ever seen a very bad bag there.
• 59:29
  Speaker 1: But I feel like this is another like symptom of
• 59:33
  Speaker 1: this and kind of as an extension of what Hunter
• 59:36
  Speaker 1: is saying, Like it's a symptom of a show made
• 59:40
  Speaker 1: in the nineties that was super white, very clearly not
• 59:44
  Speaker 1: conscious of the fact that, like television needs to be
• 59:48
  Speaker 1: fucking inclusive because everyone's watching it and then trying to
• 59:51
  Speaker 1: course correct way too late. I feel like there's like
• 59:54
  Speaker 1: a similar like another big nineties show, Friends, ever heard
• 59:58
  Speaker 1: of a bit like they did? I just like fact Checks,
• 1:00:03
  Speaker 1: they added a black character in season nine of that show.
• 1:00:07
  Speaker 1: Aisha Tyler joined the cast in like the last two
• 1:00:10
  Speaker 1: seasons of that show, and it just and like, even
• 1:00:13
  Speaker 1: though like Jennifer Hudson does like as much as she
• 1:00:16
  Speaker 1: possibly can with what she's given, and so did Aisha
• 1:00:18
  Speaker 1: Tyler's just like too little, too late to course correct
• 1:00:22
  Speaker 1: when you're that deep into something and we're you know,
• 1:00:24
  Speaker 1: when this comes out, We're ten years deep into Sex
• 1:00:26
  Speaker 1: in the City, and this is the first woman of
• 1:00:29
  Speaker 1: color that is included meaningfully. And it's like, I mean
• 1:00:34
  Speaker 1: reflected by your recap, Like she is very easily removed
• 1:00:38
  Speaker 1: from the plot without much happening. She organizes Carrie's life
• 1:00:42
  Speaker 1: a little bit. Also, she is, she teaches, she does,
• 1:00:45
  Speaker 1: she checks email for she makes her a better website
• 1:00:48
  Speaker 1: because she she squares a computer science major. Why is
• 1:00:52
  Speaker 1: she getting a job as an assistant to Carrie Bradshaw.
• 1:00:57
  Speaker 1: That doesn't make well. She is a woman in STEMP
• 1:01:00
  Speaker 1: number one computer science is letter. Oh yes, I was
• 1:01:04
  Speaker 1: like which letter? But yeah, So she gets this job
• 1:01:09
  Speaker 1: that she's overqualified for. I don't know why she applies.
• 1:01:15
  Speaker 1: I mean this one. I mean it's like, this is
• 1:01:17
  Speaker 1: the recession. That's how I testified it. I was like, well,
• 1:01:20
  Speaker 1: you know, people would graduate degrees. But I think it
• 1:01:22
  Speaker 1: was shot pre recession. I think it was shot like
• 1:01:26
  Speaker 1: sub primari crazy. Hang on, let me find because so
• 1:01:30
  Speaker 1: there's this whole storyline where Carrie does this photo shoot
• 1:01:33
  Speaker 1: for Vogue, and then a little bit later on into
• 1:01:36
  Speaker 1: the movie, she is looking at the stack of magazines
• 1:01:39
  Speaker 1: she has, and on top of her issue of Vogue,
• 1:01:41
  Speaker 1: there is an issue of Forbes magazine and on the
• 1:01:46
  Speaker 1: cover it says, how long before our real estate bubble pops?
• 1:01:51
  Speaker 1: Oh my god, I mean, what has to be? Like?
• 1:01:55
  Speaker 1: Did you see tex in the city. We called this
• 1:01:58
  Speaker 1: right because this movie came out. The housing market you've
• 1:02:03
  Speaker 1: officially crashed on December eight. Mother, it's their fault. Do
• 1:02:13
  Speaker 1: you think that Big and Carry going to lose their
• 1:02:16
  Speaker 1: apartment because of the housing ball? But I mean probably
• 1:02:21
  Speaker 1: he was I'm guessing this like finance guy in the
• 1:02:25
  Speaker 1: bank he got hit by an egg during Occupy Wall stage.
• 1:02:31
  Speaker 1: I just think, but but so Carrie sees this magazine,
• 1:02:36
  Speaker 1: but she like kind of moves it to the side.
• 1:02:38
  Speaker 1: She she had just read the article and done something
• 1:02:42
  Speaker 1: about it, we wouldn't have been a yeah, I was
• 1:02:46
  Speaker 1: thinking that. Instead, she's like boys boys boys, I mean,
• 1:02:51
  Speaker 1: and even Jennifer Hudson's character ends up leaving New York
• 1:02:55
  Speaker 1: for a man to get married. I mean, well, that's
• 1:02:57
  Speaker 1: that's how her characters introduced. Is the reason Carrie hires
• 1:03:00
  Speaker 1: her is because Jennifer Hudson is like how to break up? Yeah,
• 1:03:03
  Speaker 1: She's just like I came here to fall in love
• 1:03:05
  Speaker 1: and carry is like, I'm also stupid. You want to
• 1:03:07
  Speaker 1: be my employee? Like, it is not a good beginning
• 1:03:11
  Speaker 1: to affriendicip. I mean, it's a Jennifer Hudson is very
• 1:03:14
  Speaker 1: good at her job even, I mean it's like her
• 1:03:15
  Speaker 1: job is just checking email. She's great at her job.
• 1:03:18
  Speaker 1: She rents bags, she has, she loves her now. I
• 1:03:24
  Speaker 1: think it was a joke then, but it's real now.
• 1:03:26
  Speaker 1: And Carrie does, to someone's credit, say like many many
• 1:03:32
  Speaker 1: times you say to me, yeah, it's just I mean,
• 1:03:37
  Speaker 1: it's like, after ten years, you're like, this is the
• 1:03:40
  Speaker 1: best we can do. And Michael Patrick King, who is
• 1:03:44
  Speaker 1: the creator of Sex in the City, he is a
• 1:03:47
  Speaker 1: queer white man. He has a really I mean, you
• 1:03:50
  Speaker 1: could look at up. He has a very bad track
• 1:03:53
  Speaker 1: record of it's like he's perpetually in. He can't get out,
• 1:03:57
  Speaker 1: he's trapped. What else has he done? He also created
• 1:04:01
  Speaker 1: Two Broke Girls, UM, which also which had sometime in
• 1:04:07
  Speaker 1: had like a storyline that addressed race because it's another
• 1:04:11
  Speaker 1: show that's helped by straight white women and uh that
• 1:04:15
  Speaker 1: by the time it had came around, he got blowback
• 1:04:18
  Speaker 1: and dealt with it. You're never gonna guess extremely poorly um,
• 1:04:22
  Speaker 1: And so it is one of those things where it's
• 1:04:25
  Speaker 1: just like, yeah, he's trapped in the nineties and refuses
• 1:04:29
  Speaker 1: to learn and now there are consequences for it. It's
• 1:04:32
  Speaker 1: so I mean, because he also directed this movie, he
• 1:04:34
  Speaker 1: was one of the co writers on it. And then like,
• 1:04:38
  Speaker 1: the way queerness is handled is strange to me and
• 1:04:43
  Speaker 1: does still feels very stuck in the nineties. There's a
• 1:04:46
  Speaker 1: lot of criticism around that too. Yeah, where it's like
• 1:04:49
  Speaker 1: you're like you're saying mostly queer menu. But j T
• 1:04:52
  Speaker 1: was telling me, who made me watch this movie? Also
• 1:04:56
  Speaker 1: made me watch Twilight. But he was like brave, Like,
• 1:05:00
  Speaker 1: I'm so attached to the show. I love this show
• 1:05:02
  Speaker 1: because it was one of the first mainstream pieces of
• 1:05:06
  Speaker 1: media that gave visibility to and that normalized gay men
• 1:05:10
  Speaker 1: existing in the world. So I was like, okay, like
• 1:05:13
  Speaker 1: kudos to the show for that. But then like, I
• 1:05:16
  Speaker 1: don't know, I just I feel like some of the
• 1:05:19
  Speaker 1: gay male characters that we meet are just like steeped
• 1:05:22
  Speaker 1: in stereotypes there. I mean, I think that's just like
• 1:05:25
  Speaker 1: another way that this show is like perpetually in where
• 1:05:30
  Speaker 1: that was a big deal in queer characters to be
• 1:05:33
  Speaker 1: acknowledged into any way, and then by the time oh
• 1:05:36
  Speaker 1: eight comes around, it's just like, well, this is now
• 1:05:39
  Speaker 1: a really dated and like boring and offensive way to
• 1:05:43
  Speaker 1: write queer characters, like get your ship Together. One thing
• 1:05:47
  Speaker 1: I like about the movie I will say, is that
• 1:05:50
  Speaker 1: it is about you know, it's like about a group
• 1:05:53
  Speaker 1: of women over forty, which you'd never see in a movie. Um,
• 1:05:59
  Speaker 1: So I like that. I like that there are women
• 1:06:02
  Speaker 1: over forty that are treated by the movie as sexually
• 1:06:06
  Speaker 1: like hot and their sex lives are important, and I
• 1:06:10
  Speaker 1: feel like that is like the strength of this entire
• 1:06:13
  Speaker 1: like series as it started, Like women over thirty are
• 1:06:16
  Speaker 1: not like shrews are horrible if they're not married by
• 1:06:20
  Speaker 1: a certain age. And now you know, like the benefit
• 1:06:23
  Speaker 1: of it being two thousand eight is like, you know,
• 1:06:26
  Speaker 1: Samantha turned fifty at the end of the movie and
• 1:06:28
  Speaker 1: Curious forty, and that is like addressed and you see
• 1:06:32
  Speaker 1: them not just be okay with it, but you also
• 1:06:35
  Speaker 1: see them struggle with it a little bit, which feels
• 1:06:38
  Speaker 1: pretty realistic. And so that part that I liked. Yeah,
• 1:06:42
  Speaker 1: they're also at least Carrie is on like the receiving
• 1:06:46
  Speaker 1: end of some weird like ageist comments from a woman
• 1:06:49
  Speaker 1: who is over but she's like, you can help to
• 1:06:54
  Speaker 1: prove women everywhere that a woman over forty can get married,
• 1:06:59
  Speaker 1: and then she makes a weird Dan Arbists reference that
• 1:07:03
  Speaker 1: I had to look up. Weird. She's like, yeah, you
• 1:07:07
  Speaker 1: can get photographed and it won't you won't look like
• 1:07:10
  Speaker 1: a circus freak for now. But if you're even a
• 1:07:14
  Speaker 1: little bit older than you are and you get photographed
• 1:07:17
  Speaker 1: in a wedding dress, then you will look like a
• 1:07:19
  Speaker 1: freak and like it just it was such a weird
• 1:07:23
  Speaker 1: that is why, Okay, not to get back to defending
• 1:07:26
  Speaker 1: Carey for hitting him with the bouquet, but to get
• 1:07:30
  Speaker 1: back to that that was like I felt like that
• 1:07:33
  Speaker 1: was set up in a lot of ways, including that
• 1:07:36
  Speaker 1: she was pressured by Candice Bergen, classic movie villain. We've
• 1:07:41
  Speaker 1: all seen Miss congeniality, um so like but we we
• 1:07:46
  Speaker 1: we saw her be pressured into this Vogue shoot, which
• 1:07:49
  Speaker 1: is obviously a huge champagne problem, but like she is
• 1:07:53
  Speaker 1: pressured into doing it. It doesn't seem like she wants
• 1:07:55
  Speaker 1: to do it at first, and she's like and then like,
• 1:07:57
  Speaker 1: you know, this guy's he's fucking flake, Like I shouldn't
• 1:08:01
  Speaker 1: do a Vogue shoot. He constantly bails on me. We
• 1:08:05
  Speaker 1: have serious relationship problems. But but then Kennisbergen goes into
• 1:08:09
  Speaker 1: this wild age is rant as a woman over sixty five,
• 1:08:12
  Speaker 1: and she's just like, no, I mean, you're basically dead,
• 1:08:15
  Speaker 1: so you should be grateful that I'm offering this to you.
• 1:08:17
  Speaker 1: So I feel like she's pressured into that, and then
• 1:08:20
  Speaker 1: she does that, so I do feel like they're okay.
• 1:08:23
  Speaker 1: I feel like in a way not to relate with Carrie.
• 1:08:26
  Speaker 1: But I feel like perhaps Carrie feels like she is
• 1:08:30
  Speaker 1: representing uh woman over forty who is like desirable and
• 1:08:36
  Speaker 1: like worthy of getting married, and you know, like I
• 1:08:40
  Speaker 1: feel like she is representing more than herself, so that
• 1:08:44
  Speaker 1: when Mr Big bails on her for the five thousandth times,
• 1:08:47
  Speaker 1: it's not only the frustration of like you fucking suck,
• 1:08:50
  Speaker 1: but it's also like I was representing this thing and
• 1:08:53
  Speaker 1: now you made me, now you don't. It's not only
• 1:08:56
  Speaker 1: me failing, it's like a bunch of people that are
• 1:09:00
  Speaker 1: going to feel bad that this didn't work out, and
• 1:09:02
  Speaker 1: you're proving a point. You're proving that, like women who
• 1:09:06
  Speaker 1: are older should not be brides in this way, because
• 1:09:09
  Speaker 1: I do think. I mean, I've been looking at a
• 1:09:11
  Speaker 1: lot of Bridle magazines lately and it's extremely agist. And
• 1:09:15
  Speaker 1: even when I went to try on dresses I tried
• 1:09:18
  Speaker 1: to address, it was like very simple and like slinky,
• 1:09:20
  Speaker 1: and I was like, this is more like a second
• 1:09:22
  Speaker 1: wedding dress, Like you're you do have to like I
• 1:09:27
  Speaker 1: have eight bridesmaids and I'm like, I'm too old for that.
• 1:09:30
  Speaker 1: Like a wedding is a very juvenile thing, even though
• 1:09:34
  Speaker 1: it's grown ups doing it. It's very silly get at
• 1:09:38
  Speaker 1: the end. So it is. I do think in a
• 1:09:42
  Speaker 1: lot of ways the movie was trying to address that,
• 1:09:44
  Speaker 1: like no matter what age you are, if you're rich,
• 1:09:47
  Speaker 1: you can where whatever you want. And that was sort
• 1:09:50
  Speaker 1: of like a fashion note how big your wedding can be.
• 1:09:53
  Speaker 1: But the age and the wedding was definitely unintentional, perhaps
• 1:10:00
  Speaker 1: at a significant like plot point that I think a
• 1:10:03
  Speaker 1: lot of people could see themselves in sure. I think
• 1:10:07
  Speaker 1: for me, like the fact that she, you know, is
• 1:10:11
  Speaker 1: over forty and that being like the one way that
• 1:10:14
  Speaker 1: she experiences any sort of like marginalization in the Yeah,
• 1:10:23
  Speaker 1: but but you've really come over to the dark side there,
• 1:10:28
  Speaker 1: like yeah, but we're in there, We're I mean, I
• 1:10:31
  Speaker 1: like I saw I was seeing Mary Poppins the movie started,
• 1:10:35
  Speaker 1: and a man thirty seconds into the movie he turns
• 1:10:38
  Speaker 1: to his girlfriend and goes, it's a musical, and it's like,
• 1:10:42
  Speaker 1: how did you not know that? And of course it
• 1:10:45
  Speaker 1: doesn't make any sense that penguins tap dance, but like
• 1:10:48
  Speaker 1: in this world it does. So like the sex in
• 1:10:51
  Speaker 1: the city, world is fucked up, but like in the world,
• 1:10:54
  Speaker 1: the things do make sense, right, I suppose I just
• 1:10:58
  Speaker 1: have to learn to suspend my different She has a
• 1:11:00
  Speaker 1: three pillow. I can't, but like, I would get that, really,
• 1:11:06
  Speaker 1: of course is it? I don't. I didn't remember that.
• 1:11:08
  Speaker 1: That's like half of my rent um. Yeah, I would
• 1:11:12
  Speaker 1: get a and we hate you for it. There's a
• 1:11:17
  Speaker 1: silk pillow. I don't know why she say. She just
• 1:11:20
  Speaker 1: said it was like Samantha's dog is humping a pillow.
• 1:11:23
  Speaker 1: She's like, by the way, that tony dog narrative. Oh,
• 1:11:27
  Speaker 1: I honestly, I would not get a three pillow to
• 1:11:29
  Speaker 1: put on a couch. I would get a three pillow
• 1:11:31
  Speaker 1: to sleep on, and I hope that makes me more relatable.
• 1:11:36
  Speaker 1: I wouldn't get a three hundred dollar pillow, but I
• 1:11:39
  Speaker 1: would get a horny dog. And I have gotten a
• 1:11:41
  Speaker 1: horny dog. And I was like, oh, here, here we are.
• 1:11:45
  Speaker 1: Maybe every time they would do something fucking stupid, I'm like,
• 1:11:48
  Speaker 1: maybe i'm this person because I'm stupid. Um, here's a
• 1:11:52
  Speaker 1: few things I like. You see women eating a lot, Yes,
• 1:11:56
  Speaker 1: you rarely get I mean they are shamed for it,
• 1:11:59
  Speaker 1: but they dewey and uh yeah, there is more body
• 1:12:02
  Speaker 1: shaming than you would think. But shame for body hair
• 1:12:07
  Speaker 1: shamed for Samantha having gained a little bit of weight. Um,
• 1:12:12
  Speaker 1: but you see women eating in several different scenes and
• 1:12:15
  Speaker 1: that is rare. Carrie hate doesn't cook, hates to cook,
• 1:12:20
  Speaker 1: And I liked that because as another person who hates
• 1:12:23
  Speaker 1: to cook, I think that's important visibility for webbing. Yeah. Um,
• 1:12:28
  Speaker 1: I like that. The engagement between Big and Carry. Isn't
• 1:12:32
  Speaker 1: this like overly dramatic, like big romantic gesture uh as
• 1:12:37
  Speaker 1: Carrie says, It's two adults making a decision, which I
• 1:12:40
  Speaker 1: think is maybe how more engagements should go handled, very mature,
• 1:12:47
  Speaker 1: but sure, do you want to be in it or
• 1:12:50
  Speaker 1: do you want to be on the ground looking up?
• 1:12:51
  Speaker 1: I want to wake up in the okay you want?
• 1:12:56
  Speaker 1: I want my bed to have been placed in and
• 1:12:59
  Speaker 1: wake up in the limp. Well, but then at the end,
• 1:13:03
  Speaker 1: Big is like, oh man, we decided to get married
• 1:13:06
  Speaker 1: and it was like all business, no romance, and that's
• 1:13:09
  Speaker 1: like framed as a mistake. But I feel like, I mean,
• 1:13:12
  Speaker 1: marriage is just like a business transaction right well, and
• 1:13:15
  Speaker 1: like the when they all have a say, and like
• 1:13:18
  Speaker 1: it's very strange to me in archaic that like it's
• 1:13:21
  Speaker 1: like the man is deciding when in most relationships. The
• 1:13:24
  Speaker 1: men decide nothing because they can't think about anything but themselves,
• 1:13:27
  Speaker 1: so it's sort of is the one thing they have
• 1:13:30
  Speaker 1: to do and they usually sunk it up. But it's like,
• 1:13:32
  Speaker 1: it shouldn't the woman be a part of this conversation
• 1:13:36
  Speaker 1: all the That was like when another thing that I
• 1:13:39
  Speaker 1: sort of was hit on, because it's like, I I
• 1:13:40
  Speaker 1: tried to watch this movie and meet sex in the
• 1:13:42
  Speaker 1: city on its terms, which is like, you know, like
• 1:13:45
  Speaker 1: vapid materialism, and it is like if we have limitless resources,
• 1:13:50
  Speaker 1: which all of these women do. Carrie wanted a big,
• 1:13:53
  Speaker 1: fancy wedding and Big says repeatedly, I love you for
• 1:13:58
  Speaker 1: who you are. I love you, I take you you are.
• 1:14:00
  Speaker 1: But when she says, well I want this, that's not
• 1:14:02
  Speaker 1: okay with them, and that bothers him and that I
• 1:14:05
  Speaker 1: don't know that bothered me too. Of like it isn't
• 1:14:07
  Speaker 1: until she there is no compromise. It's not like we'll
• 1:14:11
  Speaker 1: have a mid sized wedding, which would have been a
• 1:14:13
  Speaker 1: you know, an adult discussion of like she wants a
• 1:14:15
  Speaker 1: bajillion people. He was like, let's have you know, fifty people,
• 1:14:19
  Speaker 1: But she ends up doing exactly what he wanted. In
• 1:14:22
  Speaker 1: the first place, which is to go to the courthouse,
• 1:14:25
  Speaker 1: and that's like, oh, now she can be married because
• 1:14:28
  Speaker 1: she compromised, rejected her own dream and it's like, I
• 1:14:31
  Speaker 1: know the weddings are silly, but that is part of
• 1:14:34
  Speaker 1: why my parents marriage failed. But she thought that sue
• 1:14:39
  Speaker 1: and showed it to everybody and they were all like no.
• 1:14:42
  Speaker 1: So in some ways she did want something more simple,
• 1:14:47
  Speaker 1: but no pun intended. She got carried away and the
• 1:14:50
  Speaker 1: guest lest started growing because I think she started to
• 1:14:55
  Speaker 1: and we all sometimes do this. She started to get attention,
• 1:14:58
  Speaker 1: and she liked the attend chin of being a bride,
• 1:15:01
  Speaker 1: and at first I think she thought it was silly
• 1:15:03
  Speaker 1: to be a bride. So I think she was happy
• 1:15:07
  Speaker 1: in both camps, and she was happy on the camp
• 1:15:10
  Speaker 1: that made him want to marry her. Here's another thing
• 1:15:16
  Speaker 1: I like. Um, I like that Samantha doesn't believe in marriage.
• 1:15:21
  Speaker 1: That's something also nice visibility from someone who again hates
• 1:15:25
  Speaker 1: to cook and doesn't want to get married. I like
• 1:15:29
  Speaker 1: the male gaze is flipped and you see I suppose
• 1:15:32
  Speaker 1: hetero female gaze where Samantha is looking at her neighbor
• 1:15:37
  Speaker 1: and then although you do see his dick and that
• 1:15:41
  Speaker 1: is great good. I loved it. I mean, if you
• 1:15:47
  Speaker 1: see a dick in a movie, it's almost always like
• 1:15:50
  Speaker 1: a gross out joke. It's literally, yeah, but you see
• 1:15:55
  Speaker 1: like some some hetero female gaze dick, and I realized
• 1:15:58
  Speaker 1: sexualized dick. Although I will argue that her spying on
• 1:16:02
  Speaker 1: her neighbors fucking is extremely illegal and she should be
• 1:16:05
  Speaker 1: in jail. Course, but she's also in Malibu and they're
• 1:16:10
  Speaker 1: like having sex in front of a window, so they
• 1:16:12
  Speaker 1: think they wanted their neighbors to see. Yeah, yeah, and
• 1:16:17
  Speaker 1: and I do like that. She, however corny it was.
• 1:16:20
  Speaker 1: I liked her monologue when she breaks up with her boyfriend,
• 1:16:24
  Speaker 1: saying like, I like myself, I don't want to be
• 1:16:27
  Speaker 1: in a long term relationship. By do you want the ring? No?
• 1:16:31
  Speaker 1: I like that. She also this is so small, but
• 1:16:34
  Speaker 1: he there's this whole stupid ass thing with a ring. Anyways,
• 1:16:37
  Speaker 1: she is like, do you want the ring bag? And
• 1:16:39
  Speaker 1: he's like no, and she if it were me, I
• 1:16:41
  Speaker 1: would have been like, are you sure? Are you sure?
• 1:16:43
  Speaker 1: Are you sure? And she's like, okay, well I'll think
• 1:16:45
  Speaker 1: of you. When I look at it, I was like, oh,
• 1:16:47
  Speaker 1: that would be it would be fun. To be that
• 1:16:49
  Speaker 1: bitch for one minute, it would Does anyone have any
• 1:16:54
  Speaker 1: other thoughts about this movie? Boy? Oh boy, I feel
• 1:16:59
  Speaker 1: like I we skipped stuff. Oh there's a scene where
• 1:17:02
  Speaker 1: like Miranda has left Steve and she's looking for an
• 1:17:06
  Speaker 1: apartment and what I think is Chinatown another racist and
• 1:17:10
  Speaker 1: she's just like, oh, I don't want to live here.
• 1:17:13
  Speaker 1: Look there's a white guy. I'll follow him, and like,
• 1:17:16
  Speaker 1: only can go. I mean, Miranda for years has been
• 1:17:21
  Speaker 1: like Brooklyn, and then you see her in Brooklyn and
• 1:17:24
  Speaker 1: it's like, you're in like a five million dollar town house.
• 1:17:28
  Speaker 1: So I guess this was okay, but she still is
• 1:17:33
  Speaker 1: like I cannot believe I have to live here. So
• 1:17:35
  Speaker 1: I don't know what Miranda's issue with um real estate is,
• 1:17:39
  Speaker 1: but it's it's it's deep. Yes, She's The last thing
• 1:17:43
  Speaker 1: I'll say is it took me. I had to watch
• 1:17:45
  Speaker 1: the scene where Samantha, Like, there's the storyline where Samantha
• 1:17:49
  Speaker 1: is unhappy that she can't suck her neighbor. She wants
• 1:17:52
  Speaker 1: to get out of her relationship, and so she gains
• 1:17:54
  Speaker 1: ten pounds. She did not gain ten pounds though, No
• 1:17:57
  Speaker 1: for sure to show her eating cake twice and then
• 1:17:59
  Speaker 1: like put her in pants that are too tight and yeah,
• 1:18:02
  Speaker 1: and then it just like, I mean all the implications
• 1:18:04
  Speaker 1: that like any manner of gaining weight indicates that you
• 1:18:07
  Speaker 1: are like depressed or something is wrong with you. Yeah,
• 1:18:10
  Speaker 1: like there so that whole like it didn't look like
• 1:18:13
  Speaker 1: she had gained weight, and everyone is like low key
• 1:18:16
  Speaker 1: mortified when she looks I think truly exactly this and
• 1:18:21
  Speaker 1: is a cancer survive her on the show, like why
• 1:18:24
  Speaker 1: is this what we're freaking out about? And then like
• 1:18:27
  Speaker 1: Carrie makes this just like this made me so annoyed,
• 1:18:30
  Speaker 1: where Carrie makes this little comment where she's like, honestly,
• 1:18:34
  Speaker 1: I think you would look beautiful at any size, but
• 1:18:37
  Speaker 1: like what the fuck? Like You're just like you don't
• 1:18:40
  Speaker 1: fucking mean that, you like liar, Like it just it
• 1:18:43
  Speaker 1: was so unnecessary and it just yeah, I mean, just
• 1:18:46
  Speaker 1: like everything I dislike about this movie is like yeah,
• 1:18:50
  Speaker 1: because that's what people from would have not blinked an
• 1:18:53
  Speaker 1: i at. And that is why this movie sucks, because
• 1:18:57
  Speaker 1: it came out ten years after it was intended to
• 1:19:01
  Speaker 1: and in contact, even in context, it makes no sense.
• 1:19:04
  Speaker 1: And it makes sense to me that it was like
• 1:19:07
  Speaker 1: poorly received, even though it does all the fan service.
• 1:19:10
  Speaker 1: Everyone is still using like cordless phones and like where's
• 1:19:15
  Speaker 1: your sidekick? Like, who it's two thousand and eight. Are
• 1:19:19
  Speaker 1: they gen xers? Is that what generation they are? No?
• 1:19:22
  Speaker 1: I think they might actually be boomers. I mean, Samantha's
• 1:19:25
  Speaker 1: a boomer, Samantha, and then I think the rest are
• 1:19:28
  Speaker 1: gen xers, maybe legally, but like they behave like boomer
• 1:19:33
  Speaker 1: I'm like, and then all the children are millennials. And
• 1:19:37
  Speaker 1: Brady's actually running. I mean it's so. I mean Miranda
• 1:19:40
  Speaker 1: ran for governor, right, yeah, I mean, and it's like
• 1:19:43
  Speaker 1: at least there, you know, Like Cynthia Nixon is like
• 1:19:47
  Speaker 1: an out actor and I mean I don't know how No,
• 1:19:51
  Speaker 1: I mean she plays a strict care who knows. Yeah,
• 1:19:53
  Speaker 1: she's openly queer. She's married to a woman. And then
• 1:19:55
  Speaker 1: she also speaks out quite a bit about like by
• 1:19:57
  Speaker 1: eraser because she identifies as by sexual, speaks out about that.
• 1:20:01
  Speaker 1: I like her. I like her. Yeah, there, there's there
• 1:20:04
  Speaker 1: there God. I that's all I'll say. I've simply had it.
• 1:20:10
  Speaker 1: We're not going to do the second movie. It's the
• 1:20:12
  Speaker 1: last time it will come up on the show. Well,
• 1:20:15
  Speaker 1: should we determine whether or not the movie passes to
• 1:20:17
  Speaker 1: the back toel tests by our standards of just like
• 1:20:21
  Speaker 1: a two line exchange would not as much as it
• 1:20:24
  Speaker 1: should's about four women and every conversation they have. Even
• 1:20:32
  Speaker 1: if there is a two line exchange that is not
• 1:20:34
  Speaker 1: about a man, that usually end up talking about a
• 1:20:36
  Speaker 1: man eventually, or the Christmas shadow subtext, the context is
• 1:20:43
  Speaker 1: almost always about men or had our relationships. So it's
• 1:20:48
  Speaker 1: not the best it does it does. It's squakes. It
• 1:20:52
  Speaker 1: squakes when they're fat shaming Samantha for not actually looking
• 1:20:57
  Speaker 1: any different. It's whenever Samantha is body hair shaming. Miranda
• 1:21:02
  Speaker 1: that being horrified by the first pube she's ever seen
• 1:21:07
  Speaker 1: passes the backtal test. It's not as we say, it
• 1:21:10
  Speaker 1: is not a perfect metric, but a perfect metric is
• 1:21:13
  Speaker 1: our nipples skinning zero to five nipples based on its portrayal,
• 1:21:19
  Speaker 1: treatment and representation of women. For this, I guess I'll
• 1:21:24
  Speaker 1: give it like two. Does that sound good? I need
• 1:21:31
  Speaker 1: validation from the crowd. There is it about a group
• 1:21:37
  Speaker 1: of women celebrating their friendship? Is did it kind of?
• 1:21:42
  Speaker 1: Did it help with the sex positivity movement? Arguably sort of?
• 1:21:49
  Speaker 1: Did it do a lot of regressive stuff? As well.
• 1:21:53
  Speaker 1: And yeah, just the fact that the women are just
• 1:21:55
  Speaker 1: so all consumed by the men in their lives. They
• 1:22:00
  Speaker 1: are again I would argue, playing into the trope and
• 1:22:05
  Speaker 1: stereotype of like highly highly irrationally emotional women and being
• 1:22:11
  Speaker 1: so overreactionary about everything, the entire erasure of people of color.
• 1:22:17
  Speaker 1: There's like a quote in the very beginning I think
• 1:22:19
  Speaker 1: she's carries doing like voice over about the auction that
• 1:22:22
  Speaker 1: they go to, which is like a woman getting divorced
• 1:22:27
  Speaker 1: and having nowhere to live, even though she like was
• 1:22:32
  Speaker 1: a model and like all this stuff, like clearly had money.
• 1:22:36
  Speaker 1: But meanwhile, like the homelessness problem in New York City
• 1:22:39
  Speaker 1: is you know, yeah, why don't they address that homelessness?
• 1:22:47
  Speaker 1: Says something like and an event that all types of
• 1:22:51
  Speaker 1: New York women go to. And then you like see
• 1:22:53
  Speaker 1: the crowd and it's just like thin, white, rich, right,
• 1:23:00
  Speaker 1: and they're all they're buying the things of a woman
• 1:23:03
  Speaker 1: down on hers. It's very dark, that whole atoll strange
• 1:23:10
  Speaker 1: revenge narrative yild. So yeah, I mean there's some things
• 1:23:15
  Speaker 1: to like about, you know. I like this Samantha, you know,
• 1:23:18
  Speaker 1: just wants to go out there and fuck and doesn't
• 1:23:20
  Speaker 1: believe in relationships, Carrie hates to cook, love those things
• 1:23:25
  Speaker 1: everything else don't care for. So I might even bump
• 1:23:28
  Speaker 1: it down to one and a half nipples. Yeah, yeah,
• 1:23:31
  Speaker 1: I'm doing it one and half nipples. I'll give one
• 1:23:33
  Speaker 1: to Cynthia Nixon and I'll give my half nipple to
• 1:23:36
  Speaker 1: the dog who humps the pillow. Horny dog. Did the
• 1:23:40
  Speaker 1: dog get a name? I was just calling horny dog
• 1:23:42
  Speaker 1: in my notes, Um she name it? I feel like
• 1:23:45
  Speaker 1: it doesn't. I think it had like a funny name.
• 1:23:47
  Speaker 1: The dogs. The dogs treated like the children just in
• 1:23:49
  Speaker 1: consequence them. I'm I'm gonna it's funny because I've been
• 1:23:53
  Speaker 1: standing up for various plot wins. I'm gonna give it
• 1:23:55
  Speaker 1: half a nipple. And if that I like this, I
• 1:23:57
  Speaker 1: mean this is like French. I mean this, especially if
• 1:24:00
  Speaker 1: we're talking about the movie. The movie is reflecting the
• 1:24:03
  Speaker 1: values of ten years ago, so that's never gonna bear well,
• 1:24:06
  Speaker 1: like it's just I mean sex adicity, like it was empowered,
• 1:24:10
  Speaker 1: vaguely empowering to people for you know, like up until
• 1:24:14
  Speaker 1: like two thousand two, maybe if you and then the
• 1:24:17
  Speaker 1: L word came on and then you know, it's like
• 1:24:19
  Speaker 1: there there's there's so much more to like see culture
• 1:24:24
  Speaker 1: reflected in any way by the time this movie comes out,
• 1:24:27
  Speaker 1: that it's I mean, the the only thing, I mean,
• 1:24:30
  Speaker 1: the thing I can say for it is that it
• 1:24:32
  Speaker 1: is for for its class issues. The women of Sex
• 1:24:36
  Speaker 1: City are not here to fix homelessness. They are. It
• 1:24:38
  Speaker 1: is a classist escape narrative, which I think does do
• 1:24:44
  Speaker 1: something for for a lot of people. I mean, I
• 1:24:47
  Speaker 1: I know, like people in my life who were just
• 1:24:49
  Speaker 1: like you know, like I'm a poor person in Massachusetts
• 1:24:53
  Speaker 1: and it is fun to like plug yourself into the
• 1:24:55
  Speaker 1: problems of some random rich lady in New York and
• 1:24:58
  Speaker 1: the escape narrative I not. I mean, I don't love it,
• 1:25:02
  Speaker 1: but it's like, you know, that's a lot of entertainment.
• 1:25:05
  Speaker 1: And sure, no one is Captain Marvel, but you can
• 1:25:08
  Speaker 1: be for two hours. They're they're not. But so I like,
• 1:25:14
  Speaker 1: I mean, there, I don't like it, but I appreciate it.
• 1:25:19
  Speaker 1: If this movie come out, I would have given him
• 1:25:22
  Speaker 1: more nipples, but it came out, like weirdly, way too late.
• 1:25:26
  Speaker 1: Jennifer Hudson is criminally underused. I really like her and
• 1:25:32
  Speaker 1: I look forward to our dream Girls episode. Is that
• 1:25:35
  Speaker 1: I was to keep out for a lot of this movie. Um.
• 1:25:38
  Speaker 1: And also it's also just a personal slight at the movie.
• 1:25:41
  Speaker 1: How dare it be two and a half hours long?
• 1:25:43
  Speaker 1: How dare it truly furious? If all the horrible things
• 1:25:47
  Speaker 1: that happened in this movie, how long it goes on
• 1:25:49
  Speaker 1: is by far the most offensive thing. Um. Yeah, we'll
• 1:25:53
  Speaker 1: never watch it again. But I really do feel that
• 1:25:56
  Speaker 1: she should have hit him with that bouquet and conclude
• 1:26:00
  Speaker 1: Jean half nipple, giving it to Lily, who should have
• 1:26:04
  Speaker 1: had more than two lines of dialogue. Oh boy, I
• 1:26:08
  Speaker 1: was going to give it three, but now I can't.
• 1:26:12
  Speaker 1: So I'll give it two nipples because, yeah, I guess
• 1:26:16
  Speaker 1: you are right two thousand and eight. It's not woke
• 1:26:18
  Speaker 1: enough for oh eight. Um, but I'm giving the nipples
• 1:26:23
  Speaker 1: based on nostalgia and just you know, the fun it
• 1:26:28
  Speaker 1: gave me as a young girl in Indiana trying to
• 1:26:32
  Speaker 1: watch some sex on cable. Yeah, very good. Well, Megan,
• 1:26:37
  Speaker 1: thank you so much for joining us. Thank you. I
• 1:26:40
  Speaker 1: can't wait. I can't wait to be back to do
• 1:26:47
  Speaker 1: sex in the city too. I can't let's do really,
• 1:26:50
  Speaker 1: I have I have high hopes through that one. Really
• 1:26:53
  Speaker 1: zero nipples I've got fifty cents. Tell us where people
• 1:26:59
  Speaker 1: can follow you online? What would you gosh? Listen, I
• 1:27:01
  Speaker 1: just got my website fixed. Um, but you know what,
• 1:27:06
  Speaker 1: it was actually fixed by a woman in New York.
• 1:27:09
  Speaker 1: Um but a white woman, and UM, so you can
• 1:27:13
  Speaker 1: go there. I don't update it, so just twitter at
• 1:27:15
  Speaker 1: Megan Gailey m E J N g A, I L
• 1:27:18
  Speaker 1: E y or gosh. I really don't put that much
• 1:27:20
  Speaker 1: on there. I feel like Instagram Stories is the new Twitter,
• 1:27:23
  Speaker 1: and so my Instagram is better. Megan Gailey. There was
• 1:27:27
  Speaker 1: a Megan Gailey and I taught her the better one incredible.
• 1:27:33
  Speaker 1: Give it up to Megan one last time. Give it
• 1:27:36
  Speaker 1: up to the roomy for having us, Give it up
• 1:27:39
  Speaker 1: to Sammy for recording, for give it up for Jez,
• 1:27:44
  Speaker 1: give it up to the Ruby. Did I say that
• 1:27:46
  Speaker 1: one already? Give it up for Caitlin's haircut? O. Yes,
• 1:27:54
  Speaker 1: thanks for listening. A couple of things. One I wanted
• 1:27:58
  Speaker 1: to clarify some things I said in the episode that
• 1:28:01
  Speaker 1: I don't think I articulated as clearly as I wanted
• 1:28:04
  Speaker 1: to when I was talking about women's emotions and reactions
• 1:28:10
  Speaker 1: in the movie. I'm all for women expressing emotion, especially rage,
• 1:28:16
  Speaker 1: because rage is an emotion that women are historically not
• 1:28:19
  Speaker 1: allowed to show. I will once again recommend so Riyah
• 1:28:23
  Speaker 1: Shmali's book Rage Becomes Her that goes into much more
• 1:28:27
  Speaker 1: detail about that very topic. I am also all for
• 1:28:31
  Speaker 1: women unleashing their rage on men when those men are
• 1:28:35
  Speaker 1: behaving badly. For this movie, though, I just felt that
• 1:28:41
  Speaker 1: women's emotions were used as plot devices to add more
• 1:28:46
  Speaker 1: drama to the story, much the same way that the
• 1:28:49
  Speaker 1: lead woman in the movie Forty Days and Forty Nights
• 1:28:53
  Speaker 1: had wild, nonsensical overreactions to everything as a way to
• 1:28:57
  Speaker 1: move the plot forward. We covered that movie. We talked
• 1:28:59
  Speaker 1: about that on that episode. Go back to that for
• 1:29:03
  Speaker 1: more of a discussion about that. I just don't like
• 1:29:06
  Speaker 1: when that happens in film, where women's emotions and reactions
• 1:29:10
  Speaker 1: are made to seem extremely over the top as a
• 1:29:13
  Speaker 1: way to propel the story forward and add more drama
• 1:29:18
  Speaker 1: to this situation. And that's what I felt happened in
• 1:29:21
  Speaker 1: Sects in the City. The reactions that they were having
• 1:29:24
  Speaker 1: at different points in this story just felt to me
• 1:29:27
  Speaker 1: more like stereotypical hysteria that you sometimes see in flat,
• 1:29:33
  Speaker 1: underdeveloped female characters. Because according to usually male writers, women
• 1:29:39
  Speaker 1: be hysterical, so I just wanted to clarify my thoughts
• 1:29:42
  Speaker 1: on that, so thank you for bearing with me. I
• 1:29:45
  Speaker 1: also wanted to say thank you to our guest on
• 1:29:49
  Speaker 1: the show, Megan Gaily. She was awesome. Thanks to the
• 1:29:52
  Speaker 1: Ruby for having us, Thanks to Sammy for recording the
• 1:29:56
  Speaker 1: live show. Thanks to everyone who attended the show. We
• 1:29:59
  Speaker 1: always love having you there and meeting everyone who comes,
• 1:30:02
  Speaker 1: so thanks once again to all those folks. And please,
• 1:30:07
  Speaker 1: as per usual, follow us on social media Twitter, Instagram, Facebook,
• 1:30:11
  Speaker 1: at Bechtel Cast. Please rate and review us on Apple
• 1:30:16
  Speaker 1: Podcasts or wherever you get your podcasts. Check out our
• 1:30:20
  Speaker 1: Patreon aka Matreon. It's five dollars a month and you
• 1:30:24
  Speaker 1: get to bonus episodes every month, plus the entire back
• 1:30:27
  Speaker 1: catalog of all of our bonus episodes, and that's at
• 1:30:31
  Speaker 1: patreon dot com slash Bechtel Cast. Of course, there's merch
• 1:30:35
  Speaker 1: to be had, so grab that at our merch store.
• 1:30:39
  Speaker 1: Te public dot com slash the Bechtel Cast. Where you've
• 1:30:43
  Speaker 1: got feminism is the Law Now, feminist icon, queer icon,
• 1:30:48
  Speaker 1: feminist icon Alfred Molina, who once again was unfortunately not
• 1:30:53
  Speaker 1: in the movie Sex in the city. Do do do
• 1:30:57
  Speaker 1: do do do do do do do do do do
• 1:30:59
  Speaker 1: do do do to du by