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Carrie Bradshaw is in her junior year of high school in the early 1980s. She asks her first questions about love, sex, friendship and family while navigating the worlds of high school and Manhattan.
Stars:
AnnaSophia Robb,
Ellen Wong,
Freema Agyeman
There could hardly be an odder match, but love knows no reason- assistant DA Greg Montgomery, the golden spoon son of successful businessman Edward Montgomery and his bossy spouse Kitty, ... See full summary »
Light television comedy featuring Paul and Jaime Buchman as a recently married couple in New York City. They point out the gentle humor of domesticity and in the everyday situations of life.
Gavin and Stacey have been continuing their romance on-line and by telephone for the last six months. Now they want to be together but will their friends and family let them?
When attending their son's college graduation, a couple reignite the spark in their relationship...but the complicated fact is they're divorced and he's remarried.
A sensuous and ironic sitcom about four young, desirable, virtually inseparable New York bachelorettes who lead and confide in each-other their ever changing and confusing sex lives, as different as their natures. Carrie Bradshaw is a charming petite columnist, and often the narrator of the story, either writing her copy or off screen, constantly tossing up and rejecting different views on just about anything that does or might impact modern women's sex lives; she tries almost everything, is constantly disappointed, but always seems to return to a certain Mr. Big. Miranda Hobbes is a red-hair lawyer determined to score professionally and to be tough in love to, yet her only faithful lover is an insecure nerd. Charlotte York is a gallery-managing wasp from a prestigious, super-rich family, with high old-fashioned moral standards for her lovable but insecure self but unfortunately almost impossible to live up to for any lover, whenever she can find a socially acceptable one. Samantha ... Written by
KGF Vissers
The early episodes of the show had characters looking directly at the camera lens and commenting on the events in the story. This element was dropped in later episodes. See more »
Goofs
In the earlier series, the exterior the Carrie's apartment was another apartment block (in one episode we see a couple having sex through this windows). In later series, the exterior changes to the street outside and the other apartment seems to have moved. See more »
Quotes
Miranda:
I didn't tell Walker I was pregnant.
Carrie:
Miranda!
Miranda:
It didn't come up! If Walker had said to me, "Have you given birth recently?", I would have said, "Well, first of all, define recently."
See more »
I first caught SATC in the late nineties, and thought it was great. At the time the show really captured a certain nineties sensibility - it was cynical, tongue-in-cheek, adult. Though not your average SATC fan - heterosexual, thirty-something male working in IT - I became obsessed, and was sure to see each new episode the first time it aired. However, over time I became disillusioned with the series.
First, I eventually read the book. Despite the author's reluctance to say anything, the show never was much like the book, and has - over the years - strayed far far away. The book is, like most of Candace Bushnell's work, insightful and witty, with its humor derived from a certain urbane severity; it shares more with the works of Carrie Fischer and Tama Janowitz than any of the stuff now labeled Chick Lit.
Bushnell's characters may fall in love, even marry. They may have Manolos and Birkin bags, but this is all background noise of sorts. Bushnell is an under-rated pop-anthropologist, depicting the tribes that inhabit the big city. We may no longer be hunting our food, or struggling to keep the fire going, but it is still all about survival. Bushnell is great at depicting the primal hunger that, while it once made man fight to the death over territory or a fresh kill, now makes women deck themselves out in top gear and hunt down that Banker or Fortune 500 Executive, or fight tooth-and-nail to break through the glass ceiling.
Second, somewhere midlife, SATC, the show, got lost. All that incidental stuff - the shoes and bags, and places-to-be-seen - moved from the background to the foreground. The show became one long glossy luxury goods advertisement, the kind found in Vanity Fair. The movie underlines this - while there are great story lines, etc, the theatrical release is one obscene orgy of consumerism and decadence.
Too bad. The last years of SATC is an insult to both the book and the early years of the show. It is certainly an insult to the public, but - considering SATC was most popular in its later years - maybe the insult is much deserved.
10 of 14 people found this review helpful.
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I first caught SATC in the late nineties, and thought it was great. At the time the show really captured a certain nineties sensibility - it was cynical, tongue-in-cheek, adult. Though not your average SATC fan - heterosexual, thirty-something male working in IT - I became obsessed, and was sure to see each new episode the first time it aired. However, over time I became disillusioned with the series.
First, I eventually read the book. Despite the author's reluctance to say anything, the show never was much like the book, and has - over the years - strayed far far away. The book is, like most of Candace Bushnell's work, insightful and witty, with its humor derived from a certain urbane severity; it shares more with the works of Carrie Fischer and Tama Janowitz than any of the stuff now labeled Chick Lit.
Bushnell's characters may fall in love, even marry. They may have Manolos and Birkin bags, but this is all background noise of sorts. Bushnell is an under-rated pop-anthropologist, depicting the tribes that inhabit the big city. We may no longer be hunting our food, or struggling to keep the fire going, but it is still all about survival. Bushnell is great at depicting the primal hunger that, while it once made man fight to the death over territory or a fresh kill, now makes women deck themselves out in top gear and hunt down that Banker or Fortune 500 Executive, or fight tooth-and-nail to break through the glass ceiling.
Second, somewhere midlife, SATC, the show, got lost. All that incidental stuff - the shoes and bags, and places-to-be-seen - moved from the background to the foreground. The show became one long glossy luxury goods advertisement, the kind found in Vanity Fair. The movie underlines this - while there are great story lines, etc, the theatrical release is one obscene orgy of consumerism and decadence.
Too bad. The last years of SATC is an insult to both the book and the early years of the show. It is certainly an insult to the public, but - considering SATC was most popular in its later years - maybe the insult is much deserved.