Emily Nussbaum: How “Sex and the City” Lost its Good Name : The New Yorker

High-feminine instead of fetishistically masculine, glittery rather than gritty, and daring in its conception of character, “Sex and the City” was a brilliant and, in certain ways, radical show. It also originated the unacknowledged first female anti-hero on television: ladies and gentlemen, Carrie Bradshaw.


Why is the show so often portrayed as a set of empty, static cartoons, an embarrassment to womankind? It’s a classic misunderstanding, I think, stemming from an unexamined hierarchy: the assumption that anything stylized (or formulaic, or pleasurable, or funny, or feminine, or explicit about sex rather than about violence, or made collaboratively) must be inferior.

Emily Nussbaum: How “Sex and the City” Lost its Good Name : The New Yorker

Sex and the City 2

Sex and the City 2. DNF. There is some good writing in there, but there’s a sense of overstuffedness and improbability and awkward timing. It doesn’t feel SATC-y, from the season or so I’ve seen. I feel bad for the super-fans who got sucked into this one, and who will presumably still pay up for the third.