I love my Sex and the City box set. I really do. I’ve watched it many, many times. For me and many women it became an era-defining examination of womanhood, friendship and relationships. I still find new resonances in it now, new ways in which it reflects aspects of my own life, and at various times, I feel a real kinship with one of the four girls, depending on what’s going on at the time. If you ask them, most women know if they’re a Carrie, Miranda, Samantha or a Charlotte (I’m a Miranda/Samantha combo).
But there’s always that episode towards the end of the final season where the ham-fisted scriptwriters create an allegory of womanhood that does not sit well with me. It’s called ‘Splat!’ and it’s the episode in which a 40-year-old socialite bemoans the end of her party lifestyle in New York, declares she is “so bored she could die” and promptly trips over her Manolos and falls out of the window. Later, at her funeral, Miranda quips, “the party’s officially over,” and Carrie rams the point home, “She wasn’t always so tragic… Ladies, if you are single in New York after a certain point, there is nowhere to go but down.”
Nice one, SATC. Way to make every woman over forty like some cast-off piece of shit. Even worse, this is the episode where the smugly loved-up Carrie is parading her fifty-something hot Russian lover in front of her fifty-something hot female boss, who is forced to date ‘a hobbit’ because younger women like Carrie are stealing men from her age-appropriate ‘wading pool’.
Carrie ends up giving up her work, her life in New York, to go to Paris with The Russian, just to escape the horror of being single and nearly forty in New York, where all her friends are partnered up before they reach their ‘scary age’.
It’s only in these final stages of the box set that I start to not love SATC. Up until then, I love its celebration of female independence and identity but ultimately, it’s just one Big search for a life defined by a being with a man. Even if that man is emotionally unavailable, jealous of your success or obsessed with his work.
I know this is partly because the series was made during the nineties and early noughties, when everyone was supposed to be filled with the Y2K meltdown fear. It almost represented a kind of pre-war moment where everyone rushed to couple up before the apocalypse.
But I couldn’t help but wonder … what would the storyline be if it was made now?
Wouldn’t it be interesting if the show hadn’t copped out to coupledom and looked realistically at the lives of women post-forty, living in a city, with their own flats and good jobs, just doing their thing and having a great time? I know plenty of them. I am one of them. Hell – I’m up for starring in this new show.
I reckon Carrie would be back in her East 73rd street apartment, having decided that The Russian was too up his own ass, and Mr Big was too much like hard work. She’d have her own column in Vogue (she’s moved on from the New York Star), two more book deals, and be the proud owner of a vintage-fashion boutique in SoHo (rather than a walk-in wardrobe built by her rich fiancée). She may also have invested her book royalties in Steve and Aidan’s second bar – a cocktail one, obviously.
I’m always disappointed that Carrie gives up her hard-won, didn’t-want-to-marry-even-gorgeous-Aidan independence to plump for a guy who can barely say the word ‘love’, even at the end of six seasons. Sure, he makes her laugh but he doesn’t offer the ‘ridiculous, inconvenient, consuming, can’t-live-without-each-other love’ she says she’s looking for.
Everyone in the show except Carrie has to deal with a huge reality check towards the end – miscarriage, dementia, cancer. This is the stuff of life, in my experience, not waiting to be swept off your feet in a Parisian hotel and into a shiny new NYC apartment by a suave city boy. But Carrie is the ’90s Holly Golightly, a child-woman on the look-out for a father figure to rescue her. She doesn’t deal with reality very well (I can’t bear Breakfast at Tiffany’s).
At the end of the box set and into the first (disappointing) movie, I always feel more akin to Miranda than anyone else. Her life is derailed by a mother-in-law with dementia (my mother suffered from it) and she has already lost her own mother. And then there’s Samantha – her mantra of “I love you but I love me more” means she ends up choosing independence over an unsatisfactory relationship.
But the show does momentarily find its centre again in those last lines uttered by Carrie: “…the most exciting, challenging and significant relationship of all is the one you have with yourself. And if you find someone to love the you you love, well that’s just fabulous.”