Sex and the City
When Sex and the City finished its sixth and final season on HBO in 2004, popular sex-columnist and book author Carrie Bradshaw (Sarah Jessica Parker) had finally heard Mr. Big (Chris Noth) tell her she's The One. Sex-crazed P.R. guru Samantha Jones (Kim Cattrall) had beaten breast cancer and fallen into a monogamous relationship with her hot young boyfriend, Smith (Jason Lewis). Socialite and uber-optimist Charlotte York (Kristin Davis) and her hubby Harry (Evan Handler) were adopting a little girl from China. And snarky workaholic Miranda Hobbes (Cynthia Nixon) had moved to Brooklyn with her husband, Steve (David Eigenberg), and their son, Brady. The series finale (and, arguably, the entire series) was a celebration of friendship, self, and romantic love—mostly in that order.
This big screen reunion, which takes place four years later, celebrates much of the same (and more). And, like the TV series, the film offers much that will resonate with singles—and yes, even Christians—who see themselves not just as a demographic in a Barna poll but as sexual beings who wrestle with balancing loneliness and a desire for romantic love with a commitment to purity and platitudes like "true love waits." (And waits. And waits.) More on that in a moment, but first, let's catch up with the main characters.
Carrie, who's recently released her third book, and Big are moving into a Fifth Avenue penthouse that redefines spacious. When Carrie attends the jewelry auction of a jilted socialite, she starts to crave something a bit more concrete with Big before they share an address. Her casual mention of marriage prompts a passionless quasi-proposal. Wedding plans go from intimate to production when Carrie lands the perfect dress. Big starts to squirm, and so do we (especially fans of the TV show, who have ventured down this road too many times before).
Samantha has left NYC (horrors!) for L.A., where Smith is now a big-time actor and her star P.R. client. Their beachfront home is an altar to Smith's stunning success. It also happens to be right next door to a hot Latin surfer, who provides a world of temptation for Sam. She escapes him and her domestic boredom with frequent trips to New York. (One has to wonder if her relocation was to provide less interaction with the other actresses, with whom Cattrall has had a shaky history.)
Charlotte is adding to her domestic bliss with the discovery of her surprise pregnancy. She can only hope the baby will be as well-behaved as her adopted daughter, Lily, who seems more like a cute Asian accessory than an actual, living, sippy-cup-spilling child. Charlotte struggles to enjoy her happiness when her friends are wrestling. As usual, Charlotte offers the weakest plot line—yet we need her joy to balance out the others' angst.
Miranda is struggling as a working mom, wearing the role like an ill-fitting school uniform. She's as angry and biting as ever, with Steve serving as her main whipping boy. When he betrays Miranda, she erupts—and finally moves back to "more civilized" Manhattan with her son. Miranda's story is probably the most relatable to mere non-Prada-sporting mortals—and is also the most well defined and interesting.