By the end, she looks so synthetic she could fold herself into one of her drawers between the tissue paper. Extreme slenderness is vital for the women in Sex and the City – to be of normal dimensions is to check out from Planet Earth.I only spotted one plump woman in the entire run, and she was black.It ran for six seasons from 1998 and then became a feature film.
In another, she loses her “Carrie” necklace and sobs – this from a career woman in her forties.
She leaves Big at one point to move to Paris with another man but because he doesn’t pay her attention 24/7, she storms back to Big. But don’t call it feminism – at heart, it is nothing more than Stepford Wives.
The women have a lot of sex with different men, it’s true.
But it’s an add-on to the handbags and dieting and the reductive feminine helplessness – it seems like just one more thing they go shopping for. After Samantha, the warmest – and hottest – character has a lifetime of no-strings sex, she develops cancer and it feels like a punishment. Sex and the City is supposed to be about the search for love.
And it pushes shopping not as pleasure or renewal but as self-annihilation.
At one point Carrie says that in her early days in New York she starved herself to pay for her copy of Vogue.
Carrie is standing in a New York street in a ballet skirt, the sort that toddlers wear. And, because she is sex columnist on a newspaper, a bus wearing a huge photo of her in a tiny dress trundles past. And there, before any dialogue hits your ears, you have the two woeful female archetypes that Sex and the City loves – woman as sex object and woman as child.
The fact that Carrie is a journalist is supposed to imply that she is a kind of thinker, and is intellectually engaged with the world she shops in.
(If you are black it is OK to be fat because you are not as valuable to advertisers.) When Miranda develops baby-weight she collapses in a puddle of existential grief.