An uptight, conservative, businesswoman accompanies her boyfriend to his eccentric and outgoing family's annual Christmas celebration and finds that she's a fish out of water in their free-spirited way of life.
Sarah Jessica Parker,
While wrestling with the pressures of life, love, and work in Manhattan, Carrie, Miranda, and Charlotte join Samantha for a trip to Abu Dhabi (United Arab Emirates), where Samantha's ex is filming a new movie.
Michael Patrick King
Sarah Jessica Parker,
Straight-laced Rose breaks off relations with her party girl sister, Maggie, over an indiscretion involving Rose's boyfriend. The chilly atmosphere is broken with the arrival of Ella, the grandmother neither sister knew existed.
Carmen Lowell is working on the backstage of a play in Yale. When the lead actress and friend Julia invites her to travel to Vermont with her to work in a play with professional cast, she ... See full summary »
After moving in together in an impossibly beautiful New York apartment, Carrie Bradshaw and Mr. Big make a rather arbitrary decision to get married. The wedding itself proves to be anything but a hasty affair--the guest list quickly blooms from 75 to 200 guests, and Carrie's simple, label-less wedding gown gives way to an enormous creation that makes her look like a gigantic cream puff. An upcoming photo spread in Vogue puts the event--which will take place at the New York Public Library--squarely in the public eye. Meanwhile, Carrie's girlfriends--Samantha, the sexpot; Charlotte, the sweet naïf; and Miranda, the rigid perfectionist--could not be happier. At least, they couldn't be happier for Carrie. Charlotte still has the unrealized hope of getting pregnant. Samantha is finding a loving, committed relationship more grueling than she could have imagined. Miranda unwittingly lets her own unhappiness--created when Steve admits to cheating on her just once--spoil Carrie's. After a ... Written by
The Vogue fashion shoot used the real Vogue team: Photographer Patrick Demarchelier, Hairstylist Serge Normant, Makeup artist Gucci Westman, Prop stylist Mary Howard, West Coast editor Lauren Howell, Contributing editor Plum Sykes, and Editor at large André Leon Talley (who also coached Sarah Jessica Parker on how to pose authentically). See more »
When Carrie is with Louise at the bar, and she shows her the "Love" keychain, she holds it tight in her hand and places it near her chest. In the next shot, she is holding it next to her face. See more »
Year after year, twenty-something women come to New York City in search of the two L's: labels and love.
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Cute enough for an evening's mindless entertainment, but exactly that and not a penny more. Put aside any thought you might have about not caring a great deal about what happens to a group of rich, superficial white women who (you are told) are actually very smart and talented but who (you are shown) are silly twits (not to use a different vowel) whose exclusive joy in life comes from sex and shopping, and not in that order. I know, I know; we're supposed to believe this is all about love (and the search for same), but it isn't; love is secondary. We're supposed to believe it's about solidarity among a group of women friends and it is, but that's more-or-less an accident. It's really about consuming clothes, purses, shoes and other human beings. The introduction of Jennifer Hudson (who tries really hard not to be appalled by the level of minstrel-show tokenism her presence represents) as Carrie's personal assistant is so painful and so blatant an attempt to give a tiny bit of color to the TV series' snow-blinding whiteness that you can't help but be embarrassed for absolutely everyone. Here's another film in which women are stand-ins for what is essentially a gay-male fantasy about women (an art form that George Cukor pioneered in 1939 with _The Women_) Take your brain out and store it in Tupperware for the evening; _Sex and the City_ will make you smile, but not laugh out loud. If you spend a minute thinking about it, though, all it's going to do is make you mad.
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