Home' LOTL : January 2005 Contents IF THE SENTIMENTAL ENDING OF SEX AND
THE CITY HAD YOU RETCHING, THREE
ALTERNATE ENDINGS ARE AVAILABLE ON
THE DVD. BY EVELYN HARTOGH.
Fans will get the chance to relive Charlotte's dalliance as a
Drag King, Miranda's ill-fated date with a dyke, Carrie's pash
with Alanis Morrisette, and Samantha's affair with a woman.
While fans kept hoping the tough lawyer Miranda would turn
out to be a gay character, she was at least played by a lesbian actress.
While at first Cynthia Nixon (pictured) neither confirmed nor denied
the rumours, the press recently outed her girlfriend as community
organizer Christina Marinoni. Although Samantha briefly declared
herself a lesbian, she only cared about sex, and her relationship with
Maria broke down because of Samantha's inability to exchange
emotional intimacy. Ironically, when she eventually settled down, it
was with a very sensitive and feminine younger man.
Fashion was often called the real star of the show, and the
weekly array of glitz had many a gal finding the femme within.
The openness with which the series discussed female sexuality
set a precedent that assisted The L Word getting on air, yet there
was always something about Sex and the City that made
me uncomfortable (besides wondering how they managed to
walk in stilettos).
Carrie, Samantha, Charlotte and Miranda's world was touted as
normal American life. However, their apartments are much larger
than they could possibly afford. Their Big Apple was devoid of the
homeless or the poor, instead populated with decadent glamorous
yuppies whose shallow pursuit of status was unquestioned.
The American Dream that the series depicted ignored the
sweat-shops that produced their designer gear and portrayed the
women as average rather than privileged. Even in the show's rare
inclusion of lesbians, only the wealthy elite were shown.
Charlotte's encounter with Manhattan's 'Power Lesbians'
suggested that dykes were predatory rich bitches running the city
with their ruthless Sapphic Sisterhood.
In the only ongoing lesbian relationship of the show, between
Samantha and the Brazilian painter Maria, a 'typical' lesbian is
depicted as an exotic wealthy artist. In reality, The Guerrilla Girls,
an anonymous feminist artist collective based in New York, have
spent the last twenty years plastering posters all over the city with
statistics demonstrating the low pay and lack of representation of
women and people of colour in the arts.
Despite its wealth-driven fantasy world, Sex and the City broke
taboos, gave a positive voice to female sexuality, and Carrie's
philosophising on relationships was often illuminating, setting a
new standard of self-reflection in soap opera.
After many broken hearts the women finally found true love
and ceased being women who found men (and sometimes
women) as disposable as last season's shoes. The only exception to
the 'perfect' ending was Samantha's battle with breast cancer, one
of the few moments of realism in the series.
The star of the show was of course Sarah Jessica Parker, the
sex columnist Carrie who narrated the series and whose romantic
exploits were central to the plot. If Carrie was typical of
heterosexual women then feminism has had less impact than
previously thought. I admit to liking shoes, and having had more
than my fair share of apocalyptic love affairs, but unlike Carrie I
realised that doing the same thing over and over again and
expecting a different outcome is a form of madness.
Carrie's reunion with the self-centred Big made me sick -- how
many times has this arrogant jerk walked all over her? Out of all
the alternate endings, such as Carrie marrying her Russian lover,
or Big rejecting her completely (thus setting her free finally!), this
one was the most unbelievable. But then again, the whole show
was a fantasy, set in a New York that only exists in the imagination.
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