March 3, 2025 • 42 mins
Hats off to you.... Kirstin delivers a fashion revelation that has us scratching our heads. As we begin to analyze Carrie's money woes, one can consider if Carrie Bradshaw should be better with her finances or if it makes perfect cents? Kristin admits to one of her worst fears, which is realized within this episode.
And, she explains why Charlotte's bold behavior with Neville is not surprising at all.
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Episode Transcript
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Speaker 1 (00:01):
Hi, I'm Kristin Davis, and I want to know are
you a Charlotte? Hello, everybody, welcome, Welcome back to Are
You a Charlotte Today when we are.
Speaker 2 (00:15):
Going to recap episode of one oh five. It is called.
Speaker 1 (00:20):
Oh my Gosh, The Power of Female Sex. Don Don
Don do, and it is just me. I'm recapping just
me and myself today. So for the fan who wrote
in on the Instagram page saying, you know, can you
explain the guests at the top of the show, the
guest is.
Speaker 2 (00:38):
Myself, So I hope that's okay with you guys.
Speaker 1 (00:41):
All Right, this episode is so fascinating and when I
rewatched it, I was wow shocked. Didn't remember lots and
lots of it. Did remember some of it. But also,
like when I think about the first season, part of
the reason that I feel like in my mind I
had felt like, no, no, no, the first season is
like a mess is because we really are kind of
(01:03):
all over the place, like different things happen, one of
which we'll get to in a second that are kind
of unexpected and odd, and I feel like we were
trying things out. And then also when I look back now,
I'm just so impressed by so many things about it,
and in this particular episode, there's a lot of really
fascinating conversation about power and sex and men and women
(01:29):
and the power of female sexuality that I'm just so
kind of amazed by and just happy that I got
to be a part of it in a lot of ways.
And the other thing I think of it, I'm just
going to say this at the top too, because you know,
I have my drive to the podcast studio, and I
always think about things on my drive in the morning
before we do the podcast, and today I was thinking
(01:50):
about the fact that I'm so grateful that I got
to do the show for all of the gazillion hundred
many years that I've been doing it, and that I
got to grow up on it, because when I look
back at myself, I seem like I am just so
incredibly young and unformed, and I'm just so grateful that
someone hired me and let me stay while I turned
(02:13):
into a grown up, because that's kind of.
Speaker 2 (02:15):
How I feel.
Speaker 1 (02:16):
I feel like I grew up on this show, even
though technically it's not really true. But like when I
look at myself, especially in episodes like this, I'm like,
I'm like a little child. I'm like a little innocent
child making a lot of faces.
Speaker 2 (02:27):
But anyway, that's my commentary on myself. But we'll get
into more detail, all right.
Speaker 1 (02:32):
This episode is extremely fascinating. It is directed by Susan Settleman,
who also directed the pilot, and written by Jeni Cohan.
Do you remember back when I said I didn't know
any of the writers from the first season.
Speaker 2 (02:45):
Not true. Ginger Cohan is amazing.
Speaker 1 (02:48):
She created Orange is the New Black, you guys, can
you believe? Also weeds, and she wrote an episode in
our very first season called the Power of Female Sex.
She was already onto her themes, and those themes are
very much in play in our episode, for better or
for worse, but they are in play in a very
(03:09):
interesting way. We also have a different DP, so in
case I don't know how much you guys are interested
in the technical stuff, but to me it's interesting. So
our very first pilot, we had Stuart dreiberg amazing DP.
It's very dark. Then we have Maurice Alberti French, very
very very cool shots.
Speaker 2 (03:30):
Those were the first two episodes.
Speaker 1 (03:31):
Now we have Michael Barrow, who we had for a
while and I had forgot about him, but I remembered
him when I watched this, partly because the show is
very dark first season, like physically dark, you know, not
dark thematically, but physically dark, Like we're out at night
a lot.
Speaker 2 (03:46):
It's very dark.
Speaker 1 (03:47):
Also in the technical realm, we used to film on
something called Super sixteen, which is kind of hysterical if
you know anything about film and whatnot that now in
the age of you know, digital high deaf, it's like
so shocking that we filmed an entire TV show on
Super sixteen. But what was great about it was that
(04:10):
it gave like this kind of gritty softness. So like
when we're out at night and we're on the street,
the car lights kind of flare in a certain way,
like it has a very kind of to me old
fashioned feeling that I really love, and I thought that
that was very much in evidence in this episode, as
well as some just generally dark clubs and or restaurants
(04:33):
that may or may not be real or sets.
Speaker 2 (04:35):
I'm really not sure I need to find out.
Speaker 1 (04:37):
Okay, So the interesting thing about this there's so many
interesting things, but it begins with Samantha and Carrie waiting
forty five minutes for a table. It's something that we're
calling Ballzac, but it's really standing in for Balfazar, which
opened that year. Still a fantastic restaurant in New York
that we go to frequently and we love, but at
(04:58):
the time it was a very very hard reservation to get.
Speaker 2 (05:01):
And New York is really still like this.
Speaker 1 (05:03):
Like we were in New York film and just like
that when all the COVID things were letting go, you know,
lifting and you could go out.
Speaker 2 (05:09):
To eat again.
Speaker 1 (05:10):
And I was trying to get my kids and I
were just like, oh, hey, let's go to this restaurant.
Speaker 2 (05:14):
They would not let me in. And not only that,
they were so mean. Okay, they were so mean, and
I was like, why why so mean? Like we're just
just back out in the world, like and I remember, oh,
we're in New York. This out is it's never gonna change.
Speaker 1 (05:29):
So anyway, there's so many things I love about this
whole Balthazar slash Ballzac.
Speaker 2 (05:34):
You know, fill in one is the hostess. So I
don't know.
Speaker 1 (05:37):
If you guys follow the hat saga on Sex and
the City and the movies and then just like that,
but Sir Jessica and our costume designers love hats. Michael
Patrick King cannot stand hats, so whenever we wear a hat,
we have to ask permission. And I personally have had
a few hats where I'm wearing like a one's coming
up in a couple episodes from now. I've got a big,
you know, wide brimmed hat on, but they can't see
(05:59):
your face and they can't light your face, so then
it's a whole drama.
Speaker 2 (06:02):
And then the dp's like, oh, you've got to push
it back, and.
Speaker 1 (06:05):
Then you're wearing a hat and this very weird angle,
and I'm sure everyone who's watching it is like, why
is she wearing her.
Speaker 2 (06:09):
Hat like that? That's not how you wear that hat.
Speaker 1 (06:11):
Well, we're wearing it because you can't see our face
under it, right. So to me, this hostess, this beautiful
woman who plays the hostess who has to be kind
of aloof and mean for most of the episode to
both Carrie and Samantha, she has assorted various small hatch
perched on her head, which really makes me laugh. And
she pulled it off beautifully. And I cannot wait to
(06:33):
talk to Molly Rogers, our costume designer, who was from
the beginning with us, from the beginning. I believe she's
listed as costume supervisor in the first season, so I
can't wait to talk to her about the hostess and
the hats. But they're they're they're waiting for this hostess
to let them in. She will not let them in,
Samantha says. This is when we start with the power
(06:55):
the power topic. Samantha points out that if the hostess
was a man, they would be sending over free drinks
and obviously already be at their table, which is interesting, right,
And I think to myself, like, hmm, this is interesting
and I have to mould this over. This is one
of those ones where I really think, like is this
still all the same or is it not? And I'm
(07:16):
not sure and I'm dying to hear what you guys think.
I think a lot of it is still at play,
but I also think that sometimes it's more like out
in the open, you know, it's not so underneath everything.
I feel like people are more open about it, so.
Speaker 2 (07:32):
They leave.
Speaker 1 (07:34):
They carry's really hungry, and Carrie's really like just rolling
her eyes a lot, as Samantha like, I'm so hungry,
You've got to get out of here.
Speaker 2 (07:40):
She wants to go to a high restaurant. Samantha is
like no.
Speaker 1 (07:42):
So then Carrie decides that the way to cheer herself
up is to go to Dulce Incoba and try to
buy some beautiful, fluffy shoes.
Speaker 2 (07:51):
Well, guess what.
Speaker 1 (07:52):
They decline her credit card, and not only that, they
chop it in half, which is super mortifying. Now, one
of my producers for the part said to me, like,
can you believe Carrie's not good with money? I'm like, yes,
I can believe Carrie's not good with money. This is
a through line and it's going to be true forever, Okay.
And the reason that Carrie's not good with money, in
(08:12):
my mind is that Carrie is a creative. And this
is a fundamental thing about Carrie that I think people
forget where they're like, why.
Speaker 2 (08:21):
Would she wear that? Well, she's wearing that because she's
a creative being. She's a writer.
Speaker 1 (08:26):
Her whole existence is a creative endeavor. She's researching things,
she's thinking about things, she's wondering about things. As you
guys know, she's investigating things. She's creative, right, That's what
she is. She's not Sir Jessica Parker, who's creative but
also very practical.
Speaker 2 (08:42):
She's Carrie. Carrie's not practical. No, no, no, no.
Speaker 1 (08:46):
She loves shoes. You know, as you guys know who's
seen the show. This will come to be a big
point later on when Carrie cannot buy her apartment because
she has spent all of her income on shoes, and
she comes to Charlotte and asks for her engagement, which
I know is a very hotly contested episode, and we
will get there, and I have a lot to say,
but in the meantime, here we are seeing the very
(09:07):
first signs of it. In episode one, she tries to
buy these shoes, they cut her credit.
Speaker 2 (09:11):
Card really meanly, unhappy.
Speaker 1 (09:13):
I don't even know if they do this anymore, but
I do remember being afraid that it would happen to
me in life, right, and I don't think it ever did,
but I remember being afraid. At which point she runs
into this fantastic character named Amalita. Now many people have
asked me about Amalita ever since this episode aired many
hundred years ago, and I'm always like, I'm Aalita, I'm Alita.
I only vaguely remember watching this. I was so impressed
(09:38):
by Carol Davis no relation to me, that I know
of though we could be sisters, but I don't think
we are. But she's incredible, so incredible, and she plays
this very worldly, fantastic woman who's beautifully dressed and has
all these boyfriends in different countries and knows everywhere to
go and all the different countries. And when I watched it,
(09:59):
I thought, you know, this is almost like an influencer
back before we had influencers. Like she's one of those
people where they know everything and they're just fabulous, Like
everything they do is fabulous. Right, So Amalita says, I'm
going to buy your shoes for you, because you are
like a sister to me, and Carrie is like I
never see her and I've only met her a few times.
Speaker 2 (10:16):
This is in voiceover.
Speaker 1 (10:17):
Of course, it's all very interesting, but Amalita to me
seems like she's got really good vibes, you know, And
she's just like, I will buy this for you. And
here's my boyfriend, my rich boyfriend, and he has a tiny,
tiny you know what, but he knows how to use it,
at which point I'm just like, oh my god, we're
so funny. Our show is so funny, and I forget
all these things you know, back in the olden.
Speaker 2 (10:37):
Days, we used to say all this stuff.
Speaker 1 (10:39):
So she buys her these shoes. Carrie also tells the
camera that al Alita.
Speaker 2 (10:45):
Is euro trash. I don't know if we say this anymore.
Speaker 1 (10:48):
You guys.
Speaker 2 (10:49):
I don't know if it's okay to say this. I
feel like maybe it's not.
Speaker 1 (10:52):
But Carrie says it without without judgment. This is another
moment where I really think, through this whole episode, Carrie
is remarkably judgment free up until like the end of
this episode, and then you see a little bit of
her going like, no, thank goodness, but anyway, we'll get
to that. So then Carrie Carrie lets her buy her shoes. Now, look,
(11:15):
I think the reason that Carrie lets her buy the
shoes is because she's avoiding, like, you know, complete and
total embarrassment of having her credit card caught up. And
she really is fully addicted to shoes, as she later
tells someone, And so for her in a bad spot,
this is, you know, like a little hit of dopamine, right, Like,
she's getting some shoes, she's getting some new shoes. She's happy,
so of course she's gonna let her buy the shoes
(11:36):
for her. Yes, do I think that's a little weird.
Sure would I let someone that I barely know buy
me shoes? Probably no, Probably no, no, probably no. But
you know, this is Carrie, and she's easy going, especially
back back in you know, nineteen ninety eight, we're.
Speaker 2 (11:51):
Way easy going. Okay, So then, oh this is so good.
Speaker 1 (11:54):
Then we go we go home with Carrie and she
has a stack of bills and she throws them in
her trash, which, again another one of our producers was like,
can you believe she did that? I'm like, yes, I can.
She writes a column for a New York City newspaper, right,
she's trying.
Speaker 2 (12:10):
To go out by fantastic shoes and clothes. She say,
some money for her bills. This is how we meet Carrie.
Speaker 1 (12:17):
You know, she's evolved a lot, but this is who
she was in the beginning.
Speaker 2 (12:21):
For sure.
Speaker 1 (12:22):
So I was not surprised at all. And we do
see that her address on the envelope is two forty
three E seventy third Street, which I do believe is
accurate in terms of the book that Candice wrote and
where the coffee shop was that we used to see.
But we're no longer seeing the coffee shop we're slowly
moving into you know, we haven't had the stoop yet.
We're getting the different elements of carness together. This particular episode,
(12:46):
we see her in her closet, which is really fun
for me at least, it was really fun to see
her in her closet and her bathrooms in the back,
and we had so many scenes in those areas. It
was a good time to see it. Okay, so we're
in her apartment. She's throwing out her bills very durable.
She says, you know, the voiceovers back and looking at
the cameras back, which is interesting because I thought that
(13:08):
we already lost it, but no, it's back. So again,
this is something that I remember from the beginning. It
seemed week to week that we didn't really know who
we were as a show, you know. So sometimes when
you're watching these episodes, things flip back and forth and
you're like, oh, right, we didn't know, like was it gone?
Was it talking to camera gone? No, No, it's not gone,
it's back. So whatever was going on with that, it's interesting.
(13:30):
So she says in her voiceover that she envies Almalita,
and then she says to the camera, where is the
line between a professional girlfriend and professional So this is
interesting to me because I feel like in twenty twenty five,
I feel like the idea of people who engage in
work for sex, sex sex workers, it's just a lot
(13:55):
more freedom to talk about, freedom to like take them seriously,
not to judge them. You know, we have this movie
at Nora, Who's up for an Oscar may win an
Oscar very openly about a young woman of trying to
live in New York engaging in stripping and sex work.
(14:16):
We've got Pink Pony Club by Chapel Roone very openly
about you know, having fun up on the stage at
our high heels. I mean, I feel like we've come
a long way. But the interesting thing that I think
here back in our show in nineteen ninety eight is
that Carrie's talking about it.
Speaker 2 (14:31):
She's not really judging it. She's just discussing, like, is there.
Speaker 1 (14:34):
A line between professional girlfriend and professional is there not?
Speaker 2 (14:38):
You know, where do I fall on that line? Where
do I want to fall?
Speaker 1 (14:41):
I love that, and I think we're gonna have so
many interesting conversations. For some reason, we played poker at
Carrie's which.
Speaker 2 (15:00):
How this happened?
Speaker 1 (15:00):
I'm like, what do we know how to play poker.
Did anyone at that table know how to play poker?
Because I definitely didn't. Many people have tried to teach
me since then. It's never stuck. But you know, clearly
we're trying to play poker for some reason. I don't
know whose idea this was. It's super interesting. So we're there,
we start discussing the power of female sex. Women can
(15:23):
use their sexuality to get ahead wherever possible, but men
shouldn't be allowed to take advantage of it.
Speaker 2 (15:28):
This is kind of one of the ideas that's.
Speaker 1 (15:30):
In there, just super interesting, right, at which point Charlotte says, hmm, well,
what if someone just says you're charming? She kind of
like floats this idea out there gently as she does,
and it turned out that there's an artist. Because you know,
Charlotte's whole beginning storyline is in my mind, largely about
her love of art and that she works in the gallery.
(15:52):
And you know, in the pilot she goes to see
the Ross Spleckner. That's why she goes to the guy's
apartment that she then leaves. You know, like there's the
art art art art, right, So in this particular setting,
this artist named Neville Morgan, who's definitely, definitely a fictional character,
has come into her gallery and kind of gently flirted
(16:14):
with her and invited her to come to his studio
out in rural Connecticut, which you will see soon.
Speaker 2 (16:20):
And basically Miranda.
Speaker 1 (16:21):
Says to her, if he asks you to hold his paintbrush,
you know, let's sue him because that's the only way
to use power as a woman. Something like that, which
is so Miranda, right. So Miranda, and obviously Samantha has
a lot of other things to say, which is also interesting,
and she's gonna say more soon too. I literally could
(16:42):
take just clips of Miranda and Samantha discussing female sexuality
and power and play them and discuss only them for
an entire podcast, I think, because it's super interesting. But
at this point, Skipper shows up. Skipper, this episode made
me laugh out loud so hard.
Speaker 2 (16:58):
He is so funny and such a short amount of time.
Speaker 1 (17:02):
I mean, also in the pilot, I last laughed out
loud because he you know, when he comes to the
bar and then she pushes it up against the bar,
It's just like a really funny dynamic to me. So
Skipper comes to pick her up, he's an hour early.
It's like so embarrassing for him, I think. But and
Miranda is just I literally could not roll her eyes more.
There's a lot of eye rolling in this episode, which
(17:23):
I also really really enjoyed. So she goes off with
Skipper for a date with a lot of eye rolls.
Carrie tries to go to bed and I think she
has an eyemask on, which is also adorable and very
har and we see many of it as they come
and Amlita calls and wants her to get back down
there to Ballzac, which is funny. So she goes and
(17:46):
she's reading, which is great. She's reading a Martin Amos book.
It's called Night Train. I'm sure that Sir Jessica has
something to do with the book. Sir Jessica, I'm sure
you know it is a huge, huge reader. Martin Ame
is super, super smart, fascinating writer. I don't know exactly
what it is. Apparently it's a detective type of a
murder mystery, which seems odd, but you know, I think
(18:07):
she probably reads a lot of different things. So we
go back down this hostess wearing a different hat. She says,
you're not on the list, but Malita is there with
a twelve thousand dollars bracelet that she's showing off, and
she brings Carrie in, at which point she meets Jille,
who's an architect from Paris.
Speaker 2 (18:28):
I had such.
Speaker 1 (18:30):
Petrovski type ideas while this was going on. It's like
an early, early early version. They have like kind of
a you know, European kind of a whirlwindy thing with
a handsome, you know, guy from another country I don't know.
Speaker 2 (18:45):
Reminded me of that.
Speaker 1 (18:47):
So Carrie feels interested, though she says, you know, I
see some red flags, divorced French and uncomfortably handsome. I
just want to say, none of those would be red
flags for me. I mean, that's it's funny to me
that Carrie would flag those but not flag you know
a lot of other things with a lot of other people.
Speaker 2 (19:06):
But okay, okay, let's go with it. Okay. Then there's
a bunch of questions on my thing here by I'm
going and ignore them.
Speaker 1 (19:13):
I'm gonna keep talking, all right. This is where something
super fascinating happens. So Carrie is walking down Fifth Avenue
with Yell and it's beautiful. It's you can tell that
the weather is starting to turn nice. We always went
to film in like February roughly, and our show would
come on roughly in June. So for those first like
(19:35):
February March, it could be bitter bitter cold, but it
didn't matter. We had to still wear little dresses. So
you can see everyone's kind of got like light coats
in this episode, whereas in the pilot or in the
first episode we've come back, we've got like wool coats,
like hardcore coats. Now we've got little light coats. And
the trees are in bloom. So for me, I'm like, oh,
(19:56):
thank goodness, the trees are in bloom. It's gonna be
warm soon. It's gonna beautiful. So they're walking down the
street and they have a very sweet conversation where she
kind of confesses to him that she has like an
addiction and he looks like oh, and she goes, you know,
to beautiful shoes. It's very sweet and charming, and he's
very sweet and charming to her, and then she basically
(20:19):
says something to the effects the effect that she is floating, and.
Speaker 2 (20:26):
She actually floats, which is so weird.
Speaker 1 (20:29):
And I don't remember this, and I don't know how
they did it, Like, I don't know if she was
up high and the camera like comes down under her,
because I don't think they put her on wires on
Fifth Avenue because I feel like I would remember that, right.
But it's like a little bit of magical realism in
our show there. I'm not sure why, you know, I'm
not sure what the thinking was.
Speaker 2 (20:51):
I have no memory of it. But I think it's
kind of sweet.
Speaker 1 (20:54):
I mean kind of maybe a little cheesy, but also
kind of sweet because Carrie, it is so easily transported
into being like levitating basically, which is adorable by this
handsome frenchman. So also, oh, we're gonna come soon to
me going to Connecticut. I'll wait to tell you, but
there's a connection between the lovely actor who plays Jill
(21:18):
and the lovely actor who plays my artist guy. But
I'll get there in a second. So now we're at
Carries and she makes a date with the frenchman. The
next day she's there, she's getting ready for this date.
Skipper comes over because he wants to talk about Miranda. Now,
one thing that really caught my attention is that he
does not get buzzed in. Now, the reason I bring
(21:40):
this up is because there's an episode of And Just
Like That where someone comes over to Carrie's apartment also
doesn't get buzzed in, and the internet went crazy. People
the internet was like, how could they get in there
without being buzzed in? People were texting me how could
that character get in there without.
Speaker 2 (21:57):
Being buzzed in?
Speaker 1 (21:58):
I was like, wow, you guys need to lax. Okay,
my gosh. Now, in reality, yes, most buildings in New
York have either a doorman or a buzzer or some
kind of system, right, So it's true. You can't just
really walk up stairwells to people's apartment, hopefully at least.
But Skipper somehow does. So he rings her little doorbell.
She goes to the door, she answers it. She's only
(22:19):
partly dressed for her date. She's like, come on in,
I'm getting dressed. Skipper very politely comes in, sits on
the bed, doesn't look at her. She's getting dressed in
her closet, which is right behind her bedroom, as you
guys probably know. But it is kind of adorable, and
you think to yourself, gosh, do Skipper and Carrie know
each other this well?
Speaker 2 (22:35):
That she would just go ahead getting dressed.
Speaker 1 (22:37):
And I also think it's kind of this is like
the bohemian Carrie.
Speaker 2 (22:40):
This is like Carrie.
Speaker 1 (22:42):
You know, we're all much younger, right, so it's like
her bohemian self, Like, yeah, Skipper, sit there and I'll
just get dressed. Like she walks through the room in
her skirt and her bra. We don't really see this later,
do you know what I'm saying?
Speaker 2 (22:52):
But it's interesting. It's almost like we're in college. Like
I watched this episode and I'm like, it's kind of like.
Speaker 1 (22:58):
Maybe we just got out of college last year, like
we're new to the city.
Speaker 2 (23:03):
I don't know. I just get those vibes when I
watch it. But anyway, Skipper's there.
Speaker 1 (23:08):
And he says to Gary that you know, he's just
obsessed with Miranda.
Speaker 2 (23:14):
It's so adorable. I mean, it really is so cute.
He thinks he's addicted to her. She's all he can
think about.
Speaker 1 (23:21):
He only gets to have sex with her in the afternoon,
and he doesn't shower after. This made me laugh so
hard because Sarah Jessica is so brilliant. She's touching him
when he says this, at which point she looks down.
There's a few beats, she slowly lets go of his
hand and the next thing you see she's washing her hands,
which is so funny, like it's just very subtly done
(23:44):
with her really incredible comic timing.
Speaker 2 (23:47):
So it's pretty funny.
Speaker 1 (23:48):
And the funny thing that Carrie says is she says,
I really think that you should spend the night with
her and not have sex.
Speaker 2 (23:54):
It's really important.
Speaker 1 (23:56):
And I'm like, wow, who is this woman interest relationship
advice in terms of the fact that Miranda is not
going to be going for this, so I feel like,
you know, maybe that's not great advice to give to
Skipper because it's not going to go well.
Speaker 2 (24:10):
It's not going to go well at all. But nonetheless
she gives the advice.
Speaker 1 (24:14):
So then Carrie goes out on this incredible afternoon montage
with Jill. They go to literally all of my favorite
places in Central Park. At one point, she's sitting on
the Alice in Wonderland sculpture near the boat pond.
Speaker 2 (24:28):
You know, she's on the promenade in the park.
Speaker 1 (24:30):
I mean, it's like glorious and the park is looking
so beautiful. She's wearing a slightly insane outfit that I
think involves possibly like a feather boa or a feather
trim jacket. It's very trippy, but in general, stylistically, I
feel like we're really starting to see Kerry in this episode.
She has some fantastic dresses. Also, Amalita is dressed beautifully,
(24:51):
like Samantha is dressed beautifully.
Speaker 2 (24:54):
I can see that pat.
Speaker 1 (24:55):
Field is working her way in there, you know, which
is great to see.
Speaker 2 (25:00):
Okay, So they go.
Speaker 1 (25:00):
On this whole montage type date and she makes out
with him, and then she says something like I have
a rule that I don't sleep with.
Speaker 2 (25:09):
A man that I haven't known more than a day.
Speaker 1 (25:12):
But then she goes ahead, which is kind of funny,
which I'm like, I didn't know you had any rules,
but you know, it's all very interesting. So she sleeps
with the lovely frenchman and then she wakes up in
the very very posh hotel and he tells her how
beautiful she looks while she's sleeping, but that he can't
stay because he has a plane to catch, and then
(25:32):
he says, I'll call you, and later on she realizes
that she doesn't have his number and he doesn't have
her number, which is also really interesting, like how did
they find each other the next day?
Speaker 2 (25:42):
I don't know.
Speaker 1 (25:42):
It's very different obviously in nineteen ninety eight than it
is now. So he leaves and he says, stay, stay,
have room service, and she says okay, and then she
realizes that he's left her a note.
Speaker 2 (25:55):
She goes, oh, but he left me a note, so
she opens the envelope.
Speaker 1 (25:59):
There is, in fact a piece of paper, but there's
also one thousand dollars.
Speaker 2 (26:05):
I don't remember this at all, you guys.
Speaker 1 (26:08):
It is wow, fascinating to think about and really really
interesting and also really pretty mortifying. Like I think I
would definitely die a million deaths if that ever happened
to me.
Speaker 2 (26:20):
But I also feel like he was so sweet.
Speaker 1 (26:22):
To her, and she told him about her money problems, right,
I think she told him like I have an addiction
to shoes, you know. I don't think she told him
that her bills were sitting on her table and that
she threw them away, but you know, she shares, and
he says something like, oh, doesn't writing pay.
Speaker 2 (26:38):
Well She's like, no, no, it does, which is like funny.
Speaker 1 (26:40):
Also, but you know, it's all very interesting, So maybe
he's just leaving her some money to buy some shoes, like,
I didn't necessarily think that he meant it, like, yes,
I thought you were a prostitute. I do not think
that he thought that she was a prostitute. Okay, that
seems weird to me. I don't know, I don't know.
Speaker 2 (26:58):
Maybe it was just that that actor did a really
good job.
Speaker 1 (27:00):
So what I was going to tell you about that actor?
His name is Ed Frye. He was on a soap
opera in New York called Another World, as was Charles Keating,
who plays my artist, and you guys, so was I
on that soap opera. I had a recurring part on
that soap opera right after college.
Speaker 2 (27:19):
And the reason I remember is that, first of all,
I used to love to watch it.
Speaker 1 (27:23):
I don't know if you guys know what soap operas are,
because I don't think they're really a thing anymore. But
there used to be soap operas in New York and
soap operas in LA and it was a great job
if you could get it, because you got to go.
Speaker 2 (27:33):
To work like every day or whatever.
Speaker 1 (27:35):
You know, it was like, you know, sixty minutes a
day of show, right, so like Monday, She's gonna say Thursday, Friday,
every day had an hour of that show on. And
when you were little, those of us who were my age,
you know, your moms might watch these things, right, so
like if you got to stay home from school, you
could maybe watch the soap operas with your mom. It
was really dramatic, and I remember being super fond of
(27:57):
them and thinking like, yes, I could be on a
soap oper but that would be great. That was something
that I thought would be fantastic right when I got
out of college and I went on there and I
did really really enjoy it.
Speaker 2 (28:06):
Wait are you finding it, Easton?
Speaker 1 (28:08):
Is it on there?
Speaker 2 (28:09):
What was my name?
Speaker 1 (28:11):
My name was Paige, you guys, thank you? My producer
Easton looked at up. My name was Paige. Don't ask
me what I did. I have no idea. I just
remember being there and then it was very exciting. And
isn't it strange and funny that two actors from that show.
Charles Keating was on that show a long time, like
he was a mainstay of Another World and he was
a lovely, lovely actor. So anyway, funny and strange to
(28:33):
me to realize this when I'm looking back on it,
I don't think I realized it. Then Okay, they're in
the hotel room. Carrie calls Miranda and Samantha to come over.
They come over, and they ordered just a whole bunch
(28:54):
of food because they're going to spend the Frenchman's money.
And they have a very fascinating conversation that I really
would play for you guys if I could right now,
but I don't have it. They discuss money, money is power,
sex is power. Money for sex is simply an exchange
for power. I believe, Samantha says that, I think, and
(29:14):
then Miranda is like, no, you know, don't give away
your power. You know, you want to have your own power.
And they kind of overlap each other, which is also
kind of unheard of in our show and something that
we didn't get to do much of as the years
went on. But I really love the whole conversation, and
I think that it's very interesting back then, and I
think it's very interesting now and now. Like I don't
(29:36):
know if you guys feel this way, but sometimes when
I'm talking to people, like, for instance, well I shouldn't
mention anyone, but for instance, sometimes I talk to people
about dating and dating in New York La wherever, and
people talk about that younger women are into status, that
they're like they might be dating the older guy for
(29:57):
status and money or power. I think something to that effect,
and I believe Blakely and I talked about this last
week because people had a lot to say on the
Instagram about, you know, whether men who have status and
power care at all about what women think.
Speaker 2 (30:12):
Someone thinks they don't, And I.
Speaker 1 (30:14):
Was like, Lol, that's what I said, because you know,
I think everyone wants to be loved. This is what
I think. But obviously I play Charlotte, right, so of
course I would think that. But to my mind, everyone
wants to be loved, like truly deeply loved. Maybe it's
more important to some people and less important to others,
but even men with status and money want to be loved.
I'm just sure they do. I mean, do they probably
(30:34):
do what they want anyway?
Speaker 2 (30:35):
Yes, they probably do.
Speaker 1 (30:36):
But I do think that people, in general, men and
women want to be loved, right. But I also think
sometimes that women have been socialized to think that they
need to achieve a certain status, and that that status
might be based on what man they were dating, or
what that man has.
Speaker 2 (30:57):
Or drives or what his job is.
Speaker 1 (30:59):
And to me, I think that's kind of sad, only
because when that man changes his mind, what is that
woman going to be left with? And I always feel like,
do not depend on a man for your financial well being.
That's my personal advice in general. I know I'm getting
into terrible, terrible territory.
Speaker 2 (31:19):
At this point, but whatever.
Speaker 1 (31:20):
But I love these conversations because I do think it's
still very, very very interesting to talk about men and
women and money and sex and power and the exchange
of that. And I love the kind of liveliness with
which it is discussed in the episode. Then, oh Lord,
oh Lord, we cut to Charlotte, and Charlotte is out
(31:42):
in the woods in Connecticut. She's gone to see this
artist who she thinks that she's going to get to represent.
Now we don't exactly say this, but when it says
something like Charlotte's coop, I think it says that's because
she's it's like a big get to get to be
summoned by this artist out to his studio in the
rural wilds of Connecticut.
Speaker 2 (32:02):
So she goes in and he gives.
Speaker 1 (32:04):
This incredible little monologue about the source of all life
and pleasure and beauty that is really like wow, and
I really enjoyed, and I feel like we should like
print it out and put it somewhere. But he gives
this very beautiful speech while the lights are still kind
(32:26):
of off in his kind of barn slash studio, and
Charlotte's just standing there like wide eyed, like wow, you
know what's he going to show me? And then he
he when he goes on for a while about the
you know, the power and the source of all life,
it turns out that these are very much Georgia O'Keeffe
(32:51):
inspired paintings that could be flowers, but they're not. There's
something that he uses a C word for that I'm
not going to use, okay because I draw a line
as did Charlotte, but that word just starts getting thrown
around right and left, just right and left, and Charlotte's
just like oh God.
Speaker 2 (33:13):
And then his wife.
Speaker 1 (33:14):
Comes in and she also uses the sea word, which
is also very very prescient of things to come in
the show. I don't know if you guys remember, like
we have kind of older couples who teach sex courses
and things coming. I mean like, oh, I had many
flashes in my mind when I was watching this episode
of these very interesting, you know, kind of bohemianish, artsy
(33:38):
types of older couples who have a lot to say
and teach us people about sexuality and free use of
the sea word. I'm sure you guys know what I mean,
but I'm definitely not going to say it. I just
don't think I can. I just don't think I can.
It does remind me also of pat Field, though, because
the highest compliment for pat Field is to say that
something is sea unt. Why that was like, hi, praise, okay,
(34:04):
but when she would kind of like shouted at you
in her deep voice, it always seemed a little scary,
but she really meant that as a compliment, like that
was a big, big, big compliment if you could get
that compliment from Pattfield. So basically, this artist asked Charlotte
if she will pose for him, and uh, she doesn't
exactly say yes, but it kind of seems like she
might say yes because the wife is there helping, which
(34:26):
I think gives Charlotte some sense of safety. Though literally
I cannot imagine that she does this. I mean I
think she does this based on the show, but like,
I don't know how that went down.
Speaker 2 (34:38):
I don't understand it at all, and it also made me.
Speaker 1 (34:41):
Think of you know, coming up soon, I think, is
when Charlotte decides to look at her own private parts.
Speaker 2 (34:50):
Do you guys remember this?
Speaker 1 (34:50):
And I fall off the bed, which is one of
the many times I've fallen.
Speaker 2 (34:53):
Off a bed in this show. It's always really fun
to do. I did it not too long ago. It's
an enjoyable thing to do. But that's coming. I don't
know what season is coming.
Speaker 1 (35:04):
So I guess this is like a journey for Charlotte
of discovery, I guess, And for whatever reason, maybe it's
because it's art, Okay, She's like, okay for the art.
Speaker 2 (35:13):
I can do this for the art. And then later
you're going to.
Speaker 1 (35:16):
See the gallery showing at her gallery, which is a
big deal for her, right, So she is thinking about
her own career advancement, like I think that is her goal, Like,
I'm going to make a name for myself in the
art world, and this is one way.
Speaker 2 (35:28):
To do it. And it's secret that I posed.
Speaker 1 (35:30):
Right, So all the friends come and they're all trying
to guess which painting is to her, and I do
vaguely remember being vaguely embarrassed and just trying to roll
with it, Like just like the taxicab, you know, last episode.
I'm not going to say either, you know, I'm just like, Okay,
they're writing for me. I've just gotta you know, seem
(35:52):
like I'm game. I've just got to make it work somehow.
I'm sure that I was using all of my actors
substitutions in my mind, right, Like what kind of thing
would I do for my job, something like doing a
crazy storyline on a show that I really want to
be on, right, Like, I'm probably using the very thing
that's happening in life for my substitution for Charlotte storyline.
(36:12):
It's very similar because I'm just like, I need storyline.
I'm going to go with this slightly insane thing that
they're writing for me because I'm just really really happy
that they're writing something for me.
Speaker 2 (36:23):
Okay, cut back to the show.
Speaker 1 (36:25):
We're back at Pretend Balthazar, Samantha and Carrie show up
again and the host is there with a different hat.
You guys, it's amazing. They think they're going to get
in because Carrie has already been there. But no, no, no,
it is not easy Amalita is there. She invites Carrie
to come to the Venice Film Festival with a whole
(36:45):
new group of handsome men who are this time from Italy.
But one of them puts his arm around Carrie and
then kind of the arm slips down in a way.
Speaker 2 (36:55):
Carrie does not like this.
Speaker 1 (36:57):
So I was really pleased to see this, like Carrie
kind of you know, getting her sense of self there
and realizing, no, you know, she's going to have her morals.
Her voiceover says like, you know, I realize, like there's
a line between what I'm willing to do and what
I'm not willing to do. So then she goes to
the bathroom. She politely excuses herself. She goes to the bathroom.
Speaker 2 (37:16):
The hostess is there and she looks all vulnerable and she.
Speaker 1 (37:19):
Needs a tampon, and it's so cute because Carrie's like, yes,
I have one. And then after that they always get
into the restaurant, so it's good. It's like women on
each other's side. You know, it all works out. Then
at the very end, we are at the art gallery.
The friends are there. Unfortunately Stanford's not there. I was
really hoping this was the art gallery scene where Stamford
(37:39):
was there, but I think that's coming later.
Speaker 2 (37:41):
But the girls are there.
Speaker 1 (37:42):
Everyone's trying to guess which one of these paintings might
be Charlotte.
Speaker 2 (37:46):
And I tell Carrie in her ear.
Speaker 1 (37:48):
Which one is me, and she tells I think Samantha.
And I'm just like, oh my god, this is so mortifying.
But you know, I'm standing there and I'm looking, I'm looking,
I'm looking pleased, and I'm giggly whatever. And I think
a lot of it was like just being game, you know,
like you're in this show. This show doesn't know what
it is. We're figuring it out together. And I feel
like everyone, most definitely Sarah Jessica, because she's talking to
(38:11):
that camera again.
Speaker 2 (38:13):
You know, she's floating up in the air.
Speaker 1 (38:15):
She's like, we're doing so much stuff, you know, it's
very interesting to me. Now. One of my favorite things,
just from a personal personal note, is that in that
art gallery, Sarah is wearing this kind of kimono robe
that has like payettes on it. This is a robe
that still exists in Carrie's closet and just like that,
and I feel like I just saw it like a
(38:35):
couple of weeks ago, so For me, it was adorable
because I thought it was only a robe that she
wore at home, but no, she wears this house to
the art gallery, which again is bohemian.
Speaker 2 (38:43):
Carrie is creative Carrie. I love it.
Speaker 1 (38:46):
We're seeing her stylistically, you know, come into her own
in so many ways. So I think that this episode
is so interesting, and this is what I'm like, Could
I just have a forum of fans that I could
talk to about this, because I would love to hear
your guys' thoughts, Like what do you think about female
(39:07):
sex and the different forms it takes in the episode?
Speaker 2 (39:11):
Like you know, Miranda.
Speaker 1 (39:12):
Sees, you know, she's got the power over Skipper, right,
and Skipper says, oh, I'm addicted to her, you know obviously.
And then you know Charlotte, you know, willing to be
painted by this artist so that she can advance her thing.
Amalitea is her whole way of life is like, you know,
this is what I do. I have these you know,
handsome rich men, and I go where they want, and
(39:33):
I have beautiful jewelry, and I have a wonderful life
and isn't it great? And you know, it seems it
seems to be working great for her?
Speaker 2 (39:39):
Right? Is that is that cool? What do you think?
Speaker 1 (39:42):
And then like Carrie, you know, has to kind of
decide do I want to be.
Speaker 2 (39:46):
That or do I want to not.
Speaker 1 (39:49):
Be that and kind of you know, try to afford
my shoes but not be able to and get my.
Speaker 2 (39:52):
Credit card caught up.
Speaker 1 (39:53):
Like it's to me very interesting kind of conundrum that
many many people go through, men and women, really, you know, honestly, And.
Speaker 2 (40:02):
I think it's still going on.
Speaker 1 (40:03):
So I'm super curious what you guys think, and I'm
really hoping that maybe you'll tell me. I also want
to think this is reminding me a little bit of
one comment that we got from last week, which is
someone went on and said when we were talking about
the value of the twenty something guys, and they said
(40:24):
that when Blakely and I were talking about the roommate
and how that was a deal breaker, which I think
is what we said.
Speaker 2 (40:29):
We said something like that and they were like, oh,
you know, you guys ruined it for us.
Speaker 1 (40:32):
And then I wish I knew how old these these
these people were who commented, right, because I want to
know are they in their twenties? Right?
Speaker 2 (40:39):
Because this is interesting things.
Speaker 1 (40:40):
Have changed, for sure, and there's a lot of people
who don't, you know, get to live by themselves because
the economy is wacky, and you know, COVID happened, and
so many things happened, right, So I think probably a
lot of people do have roommates that wouldn't probably have
had roommates in nineteen ninety eight, right. And the whole
idea of value of the twenty something guys is Timothy
Offense character and his friends or in their twenties, right,
(41:03):
and Carrie and her friends were in our thirties. So
there is supposed to be this generational gap happening in
the episode, and it seems like we've possibly touched on
it too much that made people feel upset about it,
I guess. And I think that's a very interesting thing
to talk about now, because I still think it's true,
probably even more true, that there are these generational gaps.
(41:26):
And as part of the reason I wanted to do
the podcast is because we've been so lucky to get
to do the show since nineteen ninety eight nineteen ninety seven,
which is a very long time. Obviously, we've seen so
many social trends and changes, and you know, the way
people talk about sex and relationships and dating apps. I mean,
so many different things have changed, but yet still there
do seem to be these gaps between generations where maybe
(41:50):
there's misunderstandings, and I'm super interested by that, and certainly
what happens when you're trying to date across those gaps
is also really interesting. So right, some more on the Instagram,
you guys, mere thoughts. You could always write in on
the podcast page too, because that's cool.
Speaker 2 (42:05):
Thank you for being with me. We are going to
have a really fun guest next week. I can't wait.
And thank you for joining me for are you a Charlotte. Bye,
Hi, I'm Kristin Davis, and I want to know are
you a Charlotte? Hello, everybody, welcome, Welcome back to Are
You a Charlotte Today when we are.
Speaker 2 (00:15):
Going to recap episode of one oh five. It is called.
Speaker 1 (00:20):
Oh my Gosh, The Power of Female Sex. Don Don
Don do, and it is just me. I'm recapping just
me and myself today. So for the fan who wrote
in on the Instagram page saying, you know, can you
explain the guests at the top of the show, the
guest is.
Speaker 2 (00:38):
Myself, So I hope that's okay with you guys.
Speaker 1 (00:41):
All Right, this episode is so fascinating and when I
rewatched it, I was wow shocked. Didn't remember lots and
lots of it. Did remember some of it. But also,
like when I think about the first season, part of
the reason that I feel like in my mind I
had felt like, no, no, no, the first season is
like a mess is because we really are kind of
(01:03):
all over the place, like different things happen, one of
which we'll get to in a second that are kind
of unexpected and odd, and I feel like we were
trying things out. And then also when I look back now,
I'm just so impressed by so many things about it,
and in this particular episode, there's a lot of really
fascinating conversation about power and sex and men and women
(01:29):
and the power of female sexuality that I'm just so
kind of amazed by and just happy that I got
to be a part of it in a lot of ways.
And the other thing I think of it, I'm just
going to say this at the top too, because you know,
I have my drive to the podcast studio, and I
always think about things on my drive in the morning
before we do the podcast, and today I was thinking
(01:50):
about the fact that I'm so grateful that I got
to do the show for all of the gazillion hundred
many years that I've been doing it, and that I
got to grow up on it, because when I look
back at myself, I seem like I am just so
incredibly young and unformed, and I'm just so grateful that
someone hired me and let me stay while I turned
(02:13):
into a grown up, because that's kind of.
Speaker 2 (02:15):
How I feel.
Speaker 1 (02:16):
I feel like I grew up on this show, even
though technically it's not really true. But like when I
look at myself, especially in episodes like this, I'm like,
I'm like a little child. I'm like a little innocent
child making a lot of faces.
Speaker 2 (02:27):
But anyway, that's my commentary on myself. But we'll get
into more detail, all right.
Speaker 1 (02:32):
This episode is extremely fascinating. It is directed by Susan Settleman,
who also directed the pilot, and written by Jeni Cohan.
Do you remember back when I said I didn't know
any of the writers from the first season.
Speaker 2 (02:45):
Not true. Ginger Cohan is amazing.
Speaker 1 (02:48):
She created Orange is the New Black, you guys, can
you believe? Also weeds, and she wrote an episode in
our very first season called the Power of Female Sex.
She was already onto her themes, and those themes are
very much in play in our episode, for better or
for worse, but they are in play in a very
(03:09):
interesting way. We also have a different DP, so in
case I don't know how much you guys are interested
in the technical stuff, but to me it's interesting. So
our very first pilot, we had Stuart dreiberg amazing DP.
It's very dark. Then we have Maurice Alberti French, very
very very cool shots.
Speaker 2 (03:30):
Those were the first two episodes.
Speaker 1 (03:31):
Now we have Michael Barrow, who we had for a
while and I had forgot about him, but I remembered
him when I watched this, partly because the show is
very dark first season, like physically dark, you know, not
dark thematically, but physically dark, Like we're out at night
a lot.
Speaker 2 (03:46):
It's very dark.
Speaker 1 (03:47):
Also in the technical realm, we used to film on
something called Super sixteen, which is kind of hysterical if
you know anything about film and whatnot that now in
the age of you know, digital high deaf, it's like
so shocking that we filmed an entire TV show on
Super sixteen. But what was great about it was that
(04:10):
it gave like this kind of gritty softness. So like
when we're out at night and we're on the street,
the car lights kind of flare in a certain way,
like it has a very kind of to me old
fashioned feeling that I really love, and I thought that
that was very much in evidence in this episode, as
well as some just generally dark clubs and or restaurants
(04:33):
that may or may not be real or sets.
Speaker 2 (04:35):
I'm really not sure I need to find out.
Speaker 1 (04:37):
Okay, So the interesting thing about this there's so many
interesting things, but it begins with Samantha and Carrie waiting
forty five minutes for a table. It's something that we're
calling Ballzac, but it's really standing in for Balfazar, which
opened that year. Still a fantastic restaurant in New York
that we go to frequently and we love, but at
(04:58):
the time it was a very very hard reservation to get.
Speaker 2 (05:01):
And New York is really still like this.
Speaker 1 (05:03):
Like we were in New York film and just like
that when all the COVID things were letting go, you know,
lifting and you could go out.
Speaker 2 (05:09):
To eat again.
Speaker 1 (05:10):
And I was trying to get my kids and I
were just like, oh, hey, let's go to this restaurant.
Speaker 2 (05:14):
They would not let me in. And not only that,
they were so mean. Okay, they were so mean, and
I was like, why why so mean? Like we're just
just back out in the world, like and I remember, oh,
we're in New York. This out is it's never gonna change.
Speaker 1 (05:29):
So anyway, there's so many things I love about this
whole Balthazar slash Ballzac.
Speaker 2 (05:34):
You know, fill in one is the hostess. So I
don't know.
Speaker 1 (05:37):
If you guys follow the hat saga on Sex and
the City and the movies and then just like that,
but Sir Jessica and our costume designers love hats. Michael
Patrick King cannot stand hats, so whenever we wear a hat,
we have to ask permission. And I personally have had
a few hats where I'm wearing like a one's coming
up in a couple episodes from now. I've got a big,
you know, wide brimmed hat on, but they can't see
(05:59):
your face and they can't light your face, so then
it's a whole drama.
Speaker 2 (06:02):
And then the dp's like, oh, you've got to push
it back, and.
Speaker 1 (06:05):
Then you're wearing a hat and this very weird angle,
and I'm sure everyone who's watching it is like, why
is she wearing her.
Speaker 2 (06:09):
Hat like that? That's not how you wear that hat.
Speaker 1 (06:11):
Well, we're wearing it because you can't see our face
under it, right. So to me, this hostess, this beautiful
woman who plays the hostess who has to be kind
of aloof and mean for most of the episode to
both Carrie and Samantha, she has assorted various small hatch
perched on her head, which really makes me laugh. And
she pulled it off beautifully. And I cannot wait to
(06:33):
talk to Molly Rogers, our costume designer, who was from
the beginning with us, from the beginning. I believe she's
listed as costume supervisor in the first season, so I
can't wait to talk to her about the hostess and
the hats. But they're they're they're waiting for this hostess
to let them in. She will not let them in,
Samantha says. This is when we start with the power
(06:55):
the power topic. Samantha points out that if the hostess
was a man, they would be sending over free drinks
and obviously already be at their table, which is interesting, right,
And I think to myself, like, hmm, this is interesting
and I have to mould this over. This is one
of those ones where I really think, like is this
still all the same or is it not? And I'm
(07:16):
not sure and I'm dying to hear what you guys think.
I think a lot of it is still at play,
but I also think that sometimes it's more like out
in the open, you know, it's not so underneath everything.
I feel like people are more open about it, so.
Speaker 2 (07:32):
They leave.
Speaker 1 (07:34):
They carry's really hungry, and Carrie's really like just rolling
her eyes a lot, as Samantha like, I'm so hungry,
You've got to get out of here.
Speaker 2 (07:40):
She wants to go to a high restaurant. Samantha is
like no.
Speaker 1 (07:42):
So then Carrie decides that the way to cheer herself
up is to go to Dulce Incoba and try to
buy some beautiful, fluffy shoes.
Speaker 2 (07:51):
Well, guess what.
Speaker 1 (07:52):
They decline her credit card, and not only that, they
chop it in half, which is super mortifying. Now, one
of my producers for the part said to me, like,
can you believe Carrie's not good with money? I'm like, yes,
I can believe Carrie's not good with money. This is
a through line and it's going to be true forever, Okay.
And the reason that Carrie's not good with money, in
(08:12):
my mind is that Carrie is a creative. And this
is a fundamental thing about Carrie that I think people
forget where they're like, why.
Speaker 2 (08:21):
Would she wear that? Well, she's wearing that because she's
a creative being. She's a writer.
Speaker 1 (08:26):
Her whole existence is a creative endeavor. She's researching things,
she's thinking about things, she's wondering about things. As you
guys know, she's investigating things. She's creative, right, That's what
she is. She's not Sir Jessica Parker, who's creative but
also very practical.
Speaker 2 (08:42):
She's Carrie. Carrie's not practical. No, no, no, no.
Speaker 1 (08:46):
She loves shoes. You know, as you guys know who's
seen the show. This will come to be a big
point later on when Carrie cannot buy her apartment because
she has spent all of her income on shoes, and
she comes to Charlotte and asks for her engagement, which
I know is a very hotly contested episode, and we
will get there, and I have a lot to say,
but in the meantime, here we are seeing the very
(09:07):
first signs of it. In episode one, she tries to
buy these shoes, they cut her credit.
Speaker 2 (09:11):
Card really meanly, unhappy.
Speaker 1 (09:13):
I don't even know if they do this anymore, but
I do remember being afraid that it would happen to
me in life, right, and I don't think it ever did,
but I remember being afraid. At which point she runs
into this fantastic character named Amalita. Now many people have
asked me about Amalita ever since this episode aired many
hundred years ago, and I'm always like, I'm Aalita, I'm Alita.
I only vaguely remember watching this. I was so impressed
(09:38):
by Carol Davis no relation to me, that I know
of though we could be sisters, but I don't think
we are. But she's incredible, so incredible, and she plays
this very worldly, fantastic woman who's beautifully dressed and has
all these boyfriends in different countries and knows everywhere to
go and all the different countries. And when I watched it,
(09:59):
I thought, you know, this is almost like an influencer
back before we had influencers. Like she's one of those
people where they know everything and they're just fabulous, Like
everything they do is fabulous. Right, So Amalita says, I'm
going to buy your shoes for you, because you are
like a sister to me, and Carrie is like I
never see her and I've only met her a few times.
Speaker 2 (10:16):
This is in voiceover.
Speaker 1 (10:17):
Of course, it's all very interesting, but Amalita to me
seems like she's got really good vibes, you know, And
she's just like, I will buy this for you. And
here's my boyfriend, my rich boyfriend, and he has a tiny,
tiny you know what, but he knows how to use it,
at which point I'm just like, oh my god, we're
so funny. Our show is so funny, and I forget
all these things you know, back in the olden.
Speaker 2 (10:37):
Days, we used to say all this stuff.
Speaker 1 (10:39):
So she buys her these shoes. Carrie also tells the
camera that al Alita.
Speaker 2 (10:45):
Is euro trash. I don't know if we say this anymore.
Speaker 1 (10:48):
You guys.
Speaker 2 (10:49):
I don't know if it's okay to say this. I
feel like maybe it's not.
Speaker 1 (10:52):
But Carrie says it without without judgment. This is another
moment where I really think, through this whole episode, Carrie
is remarkably judgment free up until like the end of
this episode, and then you see a little bit of
her going like, no, thank goodness, but anyway, we'll get
to that. So then Carrie Carrie lets her buy her shoes. Now, look,
(11:15):
I think the reason that Carrie lets her buy the
shoes is because she's avoiding, like, you know, complete and
total embarrassment of having her credit card caught up. And
she really is fully addicted to shoes, as she later
tells someone, And so for her in a bad spot,
this is, you know, like a little hit of dopamine, right, Like,
she's getting some shoes, she's getting some new shoes. She's happy,
so of course she's gonna let her buy the shoes
(11:36):
for her. Yes, do I think that's a little weird.
Sure would I let someone that I barely know buy
me shoes? Probably no, Probably no, no, probably no. But
you know, this is Carrie, and she's easy going, especially
back back in you know, nineteen ninety eight, we're.
Speaker 2 (11:51):
Way easy going. Okay, So then, oh this is so good.
Speaker 1 (11:54):
Then we go we go home with Carrie and she
has a stack of bills and she throws them in
her trash, which, again another one of our producers was like,
can you believe she did that? I'm like, yes, I can.
She writes a column for a New York City newspaper, right,
she's trying.
Speaker 2 (12:10):
To go out by fantastic shoes and clothes. She say,
some money for her bills. This is how we meet Carrie.
Speaker 1 (12:17):
You know, she's evolved a lot, but this is who
she was in the beginning.
Speaker 2 (12:21):
For sure.
Speaker 1 (12:22):
So I was not surprised at all. And we do
see that her address on the envelope is two forty
three E seventy third Street, which I do believe is
accurate in terms of the book that Candice wrote and
where the coffee shop was that we used to see.
But we're no longer seeing the coffee shop we're slowly
moving into you know, we haven't had the stoop yet.
We're getting the different elements of carness together. This particular episode,
(12:46):
we see her in her closet, which is really fun
for me at least, it was really fun to see
her in her closet and her bathrooms in the back,
and we had so many scenes in those areas. It
was a good time to see it. Okay, so we're
in her apartment. She's throwing out her bills very durable.
She says, you know, the voiceovers back and looking at
the cameras back, which is interesting because I thought that
(13:08):
we already lost it, but no, it's back. So again,
this is something that I remember from the beginning. It
seemed week to week that we didn't really know who
we were as a show, you know. So sometimes when
you're watching these episodes, things flip back and forth and
you're like, oh, right, we didn't know, like was it gone?
Was it talking to camera gone? No, No, it's not gone,
it's back. So whatever was going on with that, it's interesting.
(13:30):
So she says in her voiceover that she envies Almalita,
and then she says to the camera, where is the
line between a professional girlfriend and professional So this is
interesting to me because I feel like in twenty twenty five,
I feel like the idea of people who engage in
work for sex, sex sex workers, it's just a lot
(13:55):
more freedom to talk about, freedom to like take them seriously,
not to judge them. You know, we have this movie
at Nora, Who's up for an Oscar may win an
Oscar very openly about a young woman of trying to
live in New York engaging in stripping and sex work.
(14:16):
We've got Pink Pony Club by Chapel Roone very openly
about you know, having fun up on the stage at
our high heels. I mean, I feel like we've come
a long way. But the interesting thing that I think
here back in our show in nineteen ninety eight is
that Carrie's talking about it.
Speaker 2 (14:31):
She's not really judging it. She's just discussing, like, is there.
Speaker 1 (14:34):
A line between professional girlfriend and professional is there not?
Speaker 2 (14:38):
You know, where do I fall on that line? Where
do I want to fall?
Speaker 1 (14:41):
I love that, and I think we're gonna have so
many interesting conversations. For some reason, we played poker at
Carrie's which.
Speaker 2 (15:00):
How this happened?
Speaker 1 (15:00):
I'm like, what do we know how to play poker.
Did anyone at that table know how to play poker?
Because I definitely didn't. Many people have tried to teach
me since then. It's never stuck. But you know, clearly
we're trying to play poker for some reason. I don't
know whose idea this was. It's super interesting. So we're there,
we start discussing the power of female sex. Women can
(15:23):
use their sexuality to get ahead wherever possible, but men
shouldn't be allowed to take advantage of it.
Speaker 2 (15:28):
This is kind of one of the ideas that's.
Speaker 1 (15:30):
In there, just super interesting, right, at which point Charlotte says, hmm, well,
what if someone just says you're charming? She kind of
like floats this idea out there gently as she does,
and it turned out that there's an artist. Because you know,
Charlotte's whole beginning storyline is in my mind, largely about
her love of art and that she works in the gallery.
(15:52):
And you know, in the pilot she goes to see
the Ross Spleckner. That's why she goes to the guy's
apartment that she then leaves. You know, like there's the
art art art art, right, So in this particular setting,
this artist named Neville Morgan, who's definitely, definitely a fictional character,
has come into her gallery and kind of gently flirted
(16:14):
with her and invited her to come to his studio
out in rural Connecticut, which you will see soon.
Speaker 2 (16:20):
And basically Miranda.
Speaker 1 (16:21):
Says to her, if he asks you to hold his paintbrush,
you know, let's sue him because that's the only way
to use power as a woman. Something like that, which
is so Miranda, right. So Miranda, and obviously Samantha has
a lot of other things to say, which is also interesting,
and she's gonna say more soon too. I literally could
(16:42):
take just clips of Miranda and Samantha discussing female sexuality
and power and play them and discuss only them for
an entire podcast, I think, because it's super interesting. But
at this point, Skipper shows up. Skipper, this episode made
me laugh out loud so hard.
Speaker 2 (16:58):
He is so funny and such a short amount of time.
Speaker 1 (17:02):
I mean, also in the pilot, I last laughed out
loud because he you know, when he comes to the
bar and then she pushes it up against the bar,
It's just like a really funny dynamic to me. So
Skipper comes to pick her up, he's an hour early.
It's like so embarrassing for him, I think. But and
Miranda is just I literally could not roll her eyes more.
There's a lot of eye rolling in this episode, which
(17:23):
I also really really enjoyed. So she goes off with
Skipper for a date with a lot of eye rolls.
Carrie tries to go to bed and I think she
has an eyemask on, which is also adorable and very
har and we see many of it as they come
and Amlita calls and wants her to get back down
there to Ballzac, which is funny. So she goes and
(17:46):
she's reading, which is great. She's reading a Martin Amos book.
It's called Night Train. I'm sure that Sir Jessica has
something to do with the book. Sir Jessica, I'm sure
you know it is a huge, huge reader. Martin Ame
is super, super smart, fascinating writer. I don't know exactly
what it is. Apparently it's a detective type of a
murder mystery, which seems odd, but you know, I think
(18:07):
she probably reads a lot of different things. So we
go back down this hostess wearing a different hat. She says,
you're not on the list, but Malita is there with
a twelve thousand dollars bracelet that she's showing off, and
she brings Carrie in, at which point she meets Jille,
who's an architect from Paris.
Speaker 2 (18:28):
I had such.
Speaker 1 (18:30):
Petrovski type ideas while this was going on. It's like
an early, early early version. They have like kind of
a you know, European kind of a whirlwindy thing with
a handsome, you know, guy from another country I don't know.
Speaker 2 (18:45):
Reminded me of that.
Speaker 1 (18:47):
So Carrie feels interested, though she says, you know, I
see some red flags, divorced French and uncomfortably handsome. I
just want to say, none of those would be red
flags for me. I mean, that's it's funny to me
that Carrie would flag those but not flag you know
a lot of other things with a lot of other people.
Speaker 2 (19:06):
But okay, okay, let's go with it. Okay. Then there's
a bunch of questions on my thing here by I'm
going and ignore them.
Speaker 1 (19:13):
I'm gonna keep talking, all right. This is where something
super fascinating happens. So Carrie is walking down Fifth Avenue
with Yell and it's beautiful. It's you can tell that
the weather is starting to turn nice. We always went
to film in like February roughly, and our show would
come on roughly in June. So for those first like
(19:35):
February March, it could be bitter bitter cold, but it
didn't matter. We had to still wear little dresses. So
you can see everyone's kind of got like light coats
in this episode, whereas in the pilot or in the
first episode we've come back, we've got like wool coats,
like hardcore coats. Now we've got little light coats. And
the trees are in bloom. So for me, I'm like, oh,
(19:56):
thank goodness, the trees are in bloom. It's gonna be
warm soon. It's gonna beautiful. So they're walking down the
street and they have a very sweet conversation where she
kind of confesses to him that she has like an
addiction and he looks like oh, and she goes, you know,
to beautiful shoes. It's very sweet and charming, and he's
very sweet and charming to her, and then she basically
(20:19):
says something to the effects the effect that she is floating, and.
Speaker 2 (20:26):
She actually floats, which is so weird.
Speaker 1 (20:29):
And I don't remember this, and I don't know how
they did it, Like, I don't know if she was
up high and the camera like comes down under her,
because I don't think they put her on wires on
Fifth Avenue because I feel like I would remember that, right.
But it's like a little bit of magical realism in
our show there. I'm not sure why, you know, I'm
not sure what the thinking was.
Speaker 2 (20:51):
I have no memory of it. But I think it's
kind of sweet.
Speaker 1 (20:54):
I mean kind of maybe a little cheesy, but also
kind of sweet because Carrie, it is so easily transported
into being like levitating basically, which is adorable by this
handsome frenchman. So also, oh, we're gonna come soon to
me going to Connecticut. I'll wait to tell you, but
there's a connection between the lovely actor who plays Jill
(21:18):
and the lovely actor who plays my artist guy. But
I'll get there in a second. So now we're at
Carries and she makes a date with the frenchman. The
next day she's there, she's getting ready for this date.
Skipper comes over because he wants to talk about Miranda. Now,
one thing that really caught my attention is that he
does not get buzzed in. Now, the reason I bring
(21:40):
this up is because there's an episode of And Just
Like That where someone comes over to Carrie's apartment also
doesn't get buzzed in, and the internet went crazy. People
the internet was like, how could they get in there
without being buzzed in? People were texting me how could
that character get in there without.
Speaker 2 (21:57):
Being buzzed in?
Speaker 1 (21:58):
I was like, wow, you guys need to lax. Okay,
my gosh. Now, in reality, yes, most buildings in New
York have either a doorman or a buzzer or some
kind of system, right, So it's true. You can't just
really walk up stairwells to people's apartment, hopefully at least.
But Skipper somehow does. So he rings her little doorbell.
She goes to the door, she answers it. She's only
(22:19):
partly dressed for her date. She's like, come on in,
I'm getting dressed. Skipper very politely comes in, sits on
the bed, doesn't look at her. She's getting dressed in
her closet, which is right behind her bedroom, as you
guys probably know. But it is kind of adorable, and
you think to yourself, gosh, do Skipper and Carrie know
each other this well?
Speaker 2 (22:35):
That she would just go ahead getting dressed.
Speaker 1 (22:37):
And I also think it's kind of this is like
the bohemian Carrie.
Speaker 2 (22:40):
This is like Carrie.
Speaker 1 (22:42):
You know, we're all much younger, right, so it's like
her bohemian self, Like, yeah, Skipper, sit there and I'll
just get dressed. Like she walks through the room in
her skirt and her bra. We don't really see this later,
do you know what I'm saying?
Speaker 2 (22:52):
But it's interesting. It's almost like we're in college. Like
I watched this episode and I'm like, it's kind of like.
Speaker 1 (22:58):
Maybe we just got out of college last year, like
we're new to the city.
Speaker 2 (23:03):
I don't know. I just get those vibes when I
watch it. But anyway, Skipper's there.
Speaker 1 (23:08):
And he says to Gary that you know, he's just
obsessed with Miranda.
Speaker 2 (23:14):
It's so adorable. I mean, it really is so cute.
He thinks he's addicted to her. She's all he can
think about.
Speaker 1 (23:21):
He only gets to have sex with her in the afternoon,
and he doesn't shower after. This made me laugh so
hard because Sarah Jessica is so brilliant. She's touching him
when he says this, at which point she looks down.
There's a few beats, she slowly lets go of his
hand and the next thing you see she's washing her hands,
which is so funny, like it's just very subtly done
(23:44):
with her really incredible comic timing.
Speaker 2 (23:47):
So it's pretty funny.
Speaker 1 (23:48):
And the funny thing that Carrie says is she says,
I really think that you should spend the night with
her and not have sex.
Speaker 2 (23:54):
It's really important.
Speaker 1 (23:56):
And I'm like, wow, who is this woman interest relationship
advice in terms of the fact that Miranda is not
going to be going for this, so I feel like,
you know, maybe that's not great advice to give to
Skipper because it's not going to go well.
Speaker 2 (24:10):
It's not going to go well at all. But nonetheless
she gives the advice.
Speaker 1 (24:14):
So then Carrie goes out on this incredible afternoon montage
with Jill. They go to literally all of my favorite
places in Central Park. At one point, she's sitting on
the Alice in Wonderland sculpture near the boat pond.
Speaker 2 (24:28):
You know, she's on the promenade in the park.
Speaker 1 (24:30):
I mean, it's like glorious and the park is looking
so beautiful. She's wearing a slightly insane outfit that I
think involves possibly like a feather boa or a feather
trim jacket. It's very trippy, but in general, stylistically, I
feel like we're really starting to see Kerry in this episode.
She has some fantastic dresses. Also, Amalita is dressed beautifully,
(24:51):
like Samantha is dressed beautifully.
Speaker 2 (24:54):
I can see that pat.
Speaker 1 (24:55):
Field is working her way in there, you know, which
is great to see.
Speaker 2 (25:00):
Okay, So they go.
Speaker 1 (25:00):
On this whole montage type date and she makes out
with him, and then she says something like I have
a rule that I don't sleep with.
Speaker 2 (25:09):
A man that I haven't known more than a day.
Speaker 1 (25:12):
But then she goes ahead, which is kind of funny,
which I'm like, I didn't know you had any rules,
but you know, it's all very interesting. So she sleeps
with the lovely frenchman and then she wakes up in
the very very posh hotel and he tells her how
beautiful she looks while she's sleeping, but that he can't
stay because he has a plane to catch, and then
(25:32):
he says, I'll call you, and later on she realizes
that she doesn't have his number and he doesn't have
her number, which is also really interesting, like how did
they find each other the next day?
Speaker 2 (25:42):
I don't know.
Speaker 1 (25:42):
It's very different obviously in nineteen ninety eight than it
is now. So he leaves and he says, stay, stay,
have room service, and she says okay, and then she
realizes that he's left her a note.
Speaker 2 (25:55):
She goes, oh, but he left me a note, so
she opens the envelope.
Speaker 1 (25:59):
There is, in fact a piece of paper, but there's
also one thousand dollars.
Speaker 2 (26:05):
I don't remember this at all, you guys.
Speaker 1 (26:08):
It is wow, fascinating to think about and really really
interesting and also really pretty mortifying. Like I think I
would definitely die a million deaths if that ever happened
to me.
Speaker 2 (26:20):
But I also feel like he was so sweet.
Speaker 1 (26:22):
To her, and she told him about her money problems, right,
I think she told him like I have an addiction
to shoes, you know. I don't think she told him
that her bills were sitting on her table and that
she threw them away, but you know, she shares, and
he says something like, oh, doesn't writing pay.
Speaker 2 (26:38):
Well She's like, no, no, it does, which is like funny.
Speaker 1 (26:40):
Also, but you know, it's all very interesting, So maybe
he's just leaving her some money to buy some shoes, like,
I didn't necessarily think that he meant it, like, yes,
I thought you were a prostitute. I do not think
that he thought that she was a prostitute. Okay, that
seems weird to me. I don't know, I don't know.
Speaker 2 (26:58):
Maybe it was just that that actor did a really
good job.
Speaker 1 (27:00):
So what I was going to tell you about that actor?
His name is Ed Frye. He was on a soap
opera in New York called Another World, as was Charles Keating,
who plays my artist, and you guys, so was I
on that soap opera. I had a recurring part on
that soap opera right after college.
Speaker 2 (27:19):
And the reason I remember is that, first of all,
I used to love to watch it.
Speaker 1 (27:23):
I don't know if you guys know what soap operas are,
because I don't think they're really a thing anymore. But
there used to be soap operas in New York and
soap operas in LA and it was a great job
if you could get it, because you got to go.
Speaker 2 (27:33):
To work like every day or whatever.
Speaker 1 (27:35):
You know, it was like, you know, sixty minutes a
day of show, right, so like Monday, She's gonna say Thursday, Friday,
every day had an hour of that show on. And
when you were little, those of us who were my age,
you know, your moms might watch these things, right, so
like if you got to stay home from school, you
could maybe watch the soap operas with your mom. It
was really dramatic, and I remember being super fond of
(27:57):
them and thinking like, yes, I could be on a
soap oper but that would be great. That was something
that I thought would be fantastic right when I got
out of college and I went on there and I
did really really enjoy it.
Speaker 2 (28:06):
Wait are you finding it, Easton?
Speaker 1 (28:08):
Is it on there?
Speaker 2 (28:09):
What was my name?
Speaker 1 (28:11):
My name was Paige, you guys, thank you? My producer
Easton looked at up. My name was Paige. Don't ask
me what I did. I have no idea. I just
remember being there and then it was very exciting. And
isn't it strange and funny that two actors from that show.
Charles Keating was on that show a long time, like
he was a mainstay of Another World and he was
a lovely, lovely actor. So anyway, funny and strange to
(28:33):
me to realize this when I'm looking back on it,
I don't think I realized it. Then Okay, they're in
the hotel room. Carrie calls Miranda and Samantha to come over.
They come over, and they ordered just a whole bunch
(28:54):
of food because they're going to spend the Frenchman's money.
And they have a very fascinating conversation that I really
would play for you guys if I could right now,
but I don't have it. They discuss money, money is power,
sex is power. Money for sex is simply an exchange
for power. I believe, Samantha says that, I think, and
(29:14):
then Miranda is like, no, you know, don't give away
your power. You know, you want to have your own power.
And they kind of overlap each other, which is also
kind of unheard of in our show and something that
we didn't get to do much of as the years
went on. But I really love the whole conversation, and
I think that it's very interesting back then, and I
think it's very interesting now and now. Like I don't
(29:36):
know if you guys feel this way, but sometimes when
I'm talking to people, like, for instance, well I shouldn't
mention anyone, but for instance, sometimes I talk to people
about dating and dating in New York La wherever, and
people talk about that younger women are into status, that
they're like they might be dating the older guy for
(29:57):
status and money or power. I think something to that effect,
and I believe Blakely and I talked about this last
week because people had a lot to say on the
Instagram about, you know, whether men who have status and
power care at all about what women think.
Speaker 2 (30:12):
Someone thinks they don't, And I.
Speaker 1 (30:14):
Was like, Lol, that's what I said, because you know,
I think everyone wants to be loved. This is what
I think. But obviously I play Charlotte, right, so of
course I would think that. But to my mind, everyone
wants to be loved, like truly deeply loved. Maybe it's
more important to some people and less important to others,
but even men with status and money want to be loved.
I'm just sure they do. I mean, do they probably
(30:34):
do what they want anyway?
Speaker 2 (30:35):
Yes, they probably do.
Speaker 1 (30:36):
But I do think that people, in general, men and
women want to be loved, right. But I also think
sometimes that women have been socialized to think that they
need to achieve a certain status, and that that status
might be based on what man they were dating, or
what that man has.
Speaker 2 (30:57):
Or drives or what his job is.
Speaker 1 (30:59):
And to me, I think that's kind of sad, only
because when that man changes his mind, what is that
woman going to be left with? And I always feel like,
do not depend on a man for your financial well being.
That's my personal advice in general. I know I'm getting
into terrible, terrible territory.
Speaker 2 (31:19):
At this point, but whatever.
Speaker 1 (31:20):
But I love these conversations because I do think it's
still very, very very interesting to talk about men and
women and money and sex and power and the exchange
of that. And I love the kind of liveliness with
which it is discussed in the episode. Then, oh Lord,
oh Lord, we cut to Charlotte, and Charlotte is out
(31:42):
in the woods in Connecticut. She's gone to see this
artist who she thinks that she's going to get to represent.
Now we don't exactly say this, but when it says
something like Charlotte's coop, I think it says that's because
she's it's like a big get to get to be
summoned by this artist out to his studio in the
rural wilds of Connecticut.
Speaker 2 (32:02):
So she goes in and he gives.
Speaker 1 (32:04):
This incredible little monologue about the source of all life
and pleasure and beauty that is really like wow, and
I really enjoyed, and I feel like we should like
print it out and put it somewhere. But he gives
this very beautiful speech while the lights are still kind
(32:26):
of off in his kind of barn slash studio, and
Charlotte's just standing there like wide eyed, like wow, you
know what's he going to show me? And then he
he when he goes on for a while about the
you know, the power and the source of all life,
it turns out that these are very much Georgia O'Keeffe
(32:51):
inspired paintings that could be flowers, but they're not. There's
something that he uses a C word for that I'm
not going to use, okay because I draw a line
as did Charlotte, but that word just starts getting thrown
around right and left, just right and left, and Charlotte's
just like oh God.
Speaker 2 (33:13):
And then his wife.
Speaker 1 (33:14):
Comes in and she also uses the sea word, which
is also very very prescient of things to come in
the show. I don't know if you guys remember, like
we have kind of older couples who teach sex courses
and things coming. I mean like, oh, I had many
flashes in my mind when I was watching this episode
of these very interesting, you know, kind of bohemianish, artsy
(33:38):
types of older couples who have a lot to say
and teach us people about sexuality and free use of
the sea word. I'm sure you guys know what I mean,
but I'm definitely not going to say it. I just
don't think I can. I just don't think I can.
It does remind me also of pat Field, though, because
the highest compliment for pat Field is to say that
something is sea unt. Why that was like, hi, praise, okay,
(34:04):
but when she would kind of like shouted at you
in her deep voice, it always seemed a little scary,
but she really meant that as a compliment, like that
was a big, big, big compliment if you could get
that compliment from Pattfield. So basically, this artist asked Charlotte
if she will pose for him, and uh, she doesn't
exactly say yes, but it kind of seems like she
might say yes because the wife is there helping, which
(34:26):
I think gives Charlotte some sense of safety. Though literally
I cannot imagine that she does this. I mean I
think she does this based on the show, but like,
I don't know how that went down.
Speaker 2 (34:38):
I don't understand it at all, and it also made me.
Speaker 1 (34:41):
Think of you know, coming up soon, I think, is
when Charlotte decides to look at her own private parts.
Speaker 2 (34:50):
Do you guys remember this?
Speaker 1 (34:50):
And I fall off the bed, which is one of
the many times I've fallen.
Speaker 2 (34:53):
Off a bed in this show. It's always really fun
to do. I did it not too long ago. It's
an enjoyable thing to do. But that's coming. I don't
know what season is coming.
Speaker 1 (35:04):
So I guess this is like a journey for Charlotte
of discovery, I guess, And for whatever reason, maybe it's
because it's art, Okay, She's like, okay for the art.
Speaker 2 (35:13):
I can do this for the art. And then later
you're going to.
Speaker 1 (35:16):
See the gallery showing at her gallery, which is a
big deal for her, right, So she is thinking about
her own career advancement, like I think that is her goal, Like,
I'm going to make a name for myself in the
art world, and this is one way.
Speaker 2 (35:28):
To do it. And it's secret that I posed.
Speaker 1 (35:30):
Right, So all the friends come and they're all trying
to guess which painting is to her, and I do
vaguely remember being vaguely embarrassed and just trying to roll
with it, Like just like the taxicab, you know, last episode.
I'm not going to say either, you know, I'm just like, Okay,
they're writing for me. I've just gotta you know, seem
(35:52):
like I'm game. I've just got to make it work somehow.
I'm sure that I was using all of my actors
substitutions in my mind, right, Like what kind of thing
would I do for my job, something like doing a
crazy storyline on a show that I really want to
be on, right, Like, I'm probably using the very thing
that's happening in life for my substitution for Charlotte storyline.
(36:12):
It's very similar because I'm just like, I need storyline.
I'm going to go with this slightly insane thing that
they're writing for me because I'm just really really happy
that they're writing something for me.
Speaker 2 (36:23):
Okay, cut back to the show.
Speaker 1 (36:25):
We're back at Pretend Balthazar, Samantha and Carrie show up
again and the host is there with a different hat.
You guys, it's amazing. They think they're going to get
in because Carrie has already been there. But no, no, no,
it is not easy Amalita is there. She invites Carrie
to come to the Venice Film Festival with a whole
(36:45):
new group of handsome men who are this time from Italy.
But one of them puts his arm around Carrie and
then kind of the arm slips down in a way.
Speaker 2 (36:55):
Carrie does not like this.
Speaker 1 (36:57):
So I was really pleased to see this, like Carrie
kind of you know, getting her sense of self there
and realizing, no, you know, she's going to have her morals.
Her voiceover says like, you know, I realize, like there's
a line between what I'm willing to do and what
I'm not willing to do. So then she goes to
the bathroom. She politely excuses herself. She goes to the bathroom.
Speaker 2 (37:16):
The hostess is there and she looks all vulnerable and she.
Speaker 1 (37:19):
Needs a tampon, and it's so cute because Carrie's like, yes,
I have one. And then after that they always get
into the restaurant, so it's good. It's like women on
each other's side. You know, it all works out. Then
at the very end, we are at the art gallery.
The friends are there. Unfortunately Stanford's not there. I was
really hoping this was the art gallery scene where Stamford
(37:39):
was there, but I think that's coming later.
Speaker 2 (37:41):
But the girls are there.
Speaker 1 (37:42):
Everyone's trying to guess which one of these paintings might
be Charlotte.
Speaker 2 (37:46):
And I tell Carrie in her ear.
Speaker 1 (37:48):
Which one is me, and she tells I think Samantha.
And I'm just like, oh my god, this is so mortifying.
But you know, I'm standing there and I'm looking, I'm looking,
I'm looking pleased, and I'm giggly whatever. And I think
a lot of it was like just being game, you know,
like you're in this show. This show doesn't know what
it is. We're figuring it out together. And I feel
like everyone, most definitely Sarah Jessica, because she's talking to
(38:11):
that camera again.
Speaker 2 (38:13):
You know, she's floating up in the air.
Speaker 1 (38:15):
She's like, we're doing so much stuff, you know, it's
very interesting to me. Now. One of my favorite things,
just from a personal personal note, is that in that
art gallery, Sarah is wearing this kind of kimono robe
that has like payettes on it. This is a robe
that still exists in Carrie's closet and just like that,
and I feel like I just saw it like a
(38:35):
couple of weeks ago, so For me, it was adorable
because I thought it was only a robe that she
wore at home, but no, she wears this house to
the art gallery, which again is bohemian.
Speaker 2 (38:43):
Carrie is creative Carrie. I love it.
Speaker 1 (38:46):
We're seeing her stylistically, you know, come into her own
in so many ways. So I think that this episode
is so interesting, and this is what I'm like, Could
I just have a forum of fans that I could
talk to about this, because I would love to hear
your guys' thoughts, Like what do you think about female
(39:07):
sex and the different forms it takes in the episode?
Speaker 2 (39:11):
Like you know, Miranda.
Speaker 1 (39:12):
Sees, you know, she's got the power over Skipper, right,
and Skipper says, oh, I'm addicted to her, you know obviously.
And then you know Charlotte, you know, willing to be
painted by this artist so that she can advance her thing.
Amalitea is her whole way of life is like, you know,
this is what I do. I have these you know,
handsome rich men, and I go where they want, and
(39:33):
I have beautiful jewelry, and I have a wonderful life
and isn't it great? And you know, it seems it
seems to be working great for her?
Speaker 2 (39:39):
Right? Is that is that cool? What do you think?
Speaker 1 (39:42):
And then like Carrie, you know, has to kind of
decide do I want to be.
Speaker 2 (39:46):
That or do I want to not.
Speaker 1 (39:49):
Be that and kind of you know, try to afford
my shoes but not be able to and get my.
Speaker 2 (39:52):
Credit card caught up.
Speaker 1 (39:53):
Like it's to me very interesting kind of conundrum that
many many people go through, men and women, really, you know, honestly, And.
Speaker 2 (40:02):
I think it's still going on.
Speaker 1 (40:03):
So I'm super curious what you guys think, and I'm
really hoping that maybe you'll tell me. I also want
to think this is reminding me a little bit of
one comment that we got from last week, which is
someone went on and said when we were talking about
the value of the twenty something guys, and they said
(40:24):
that when Blakely and I were talking about the roommate
and how that was a deal breaker, which I think
is what we said.
Speaker 2 (40:29):
We said something like that and they were like, oh,
you know, you guys ruined it for us.
Speaker 1 (40:32):
And then I wish I knew how old these these
these people were who commented, right, because I want to
know are they in their twenties? Right?
Speaker 2 (40:39):
Because this is interesting things.
Speaker 1 (40:40):
Have changed, for sure, and there's a lot of people
who don't, you know, get to live by themselves because
the economy is wacky, and you know, COVID happened, and
so many things happened, right, So I think probably a
lot of people do have roommates that wouldn't probably have
had roommates in nineteen ninety eight, right. And the whole
idea of value of the twenty something guys is Timothy
Offense character and his friends or in their twenties, right,
(41:03):
and Carrie and her friends were in our thirties. So
there is supposed to be this generational gap happening in
the episode, and it seems like we've possibly touched on
it too much that made people feel upset about it,
I guess. And I think that's a very interesting thing
to talk about now, because I still think it's true,
probably even more true, that there are these generational gaps.
(41:26):
And as part of the reason I wanted to do
the podcast is because we've been so lucky to get
to do the show since nineteen ninety eight nineteen ninety seven,
which is a very long time. Obviously, we've seen so
many social trends and changes, and you know, the way
people talk about sex and relationships and dating apps. I mean,
so many different things have changed, but yet still there
do seem to be these gaps between generations where maybe
(41:50):
there's misunderstandings, and I'm super interested by that, and certainly
what happens when you're trying to date across those gaps
is also really interesting. So right, some more on the Instagram,
you guys, mere thoughts. You could always write in on
the podcast page too, because that's cool.
Speaker 2 (42:05):
Thank you for being with me. We are going to
have a really fun guest next week. I can't wait.
And thank you for joining me for are you a Charlotte. Bye,
Host
Kristin Davis
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