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    ‘Happy Clothes’ Review: Patricia Field Doc Is Pleasantly Chaotic

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    “Happy Clothes” covers her work on “Emily in Paris” and “Sex and the City,” as well as her time as a tastemaker in the 1970s and ’80s underground.Patricia Field likes, as she puts it, “happy clothes.” If you’ve seen her work, you get it; if you’ve watched TV, you have probably seen her work. The fashion maven is one of the most celebrated and influential costume designers of the past three decades, with “Emily in Paris,” “The Devil Wears Prada” and “Sex and the City” among her credits. Michael Selditch’s new documentary, “Happy Clothes: A Film About Patricia Field” (in theaters and on demand), follows Field as she works on the second season of the Starz comedy “Run the World,” but the feature is really a celebration of her long career.A movie like this can head in a lot of directions, and a possible weakness of “Happy Clothes” is that it tries to go in all of them. There are conversations with Field’s friends and collaborators, including the “Devil Wears Prada” director David Frankel, the “Sex and the City and “Emily in Paris” creator Darren Star, and the actresses Sarah Jessica Parker, Kim Cattrall and Lily Collins. Field’s work in the past as the owner of a well-known boutique that bears her name comes to life through archival footage and interviews, while observational images show her working with assistants, shopping for pieces and going to sets.There’s just a lot here. But with a subject like Field, the mild chaos feels pleasantly appropriate. Her taste runs toward the conspicuous and bold, and several interviewees — particularly Parker, who became a fashion icon partly because of her willingness to wear anything Field selected — note that her choices can be shocking at first. Prints and patterns, gems and silhouettes, neons and bold accessories: You never really know what you’ll get when you work with Field.But that’s why people love her. Her style, as she says, is happy. “I like clothes that don’t die,” she explains, a statement that reveals she’s always thinking about longevity. Field is amazingly energetic — her 80th birthday approaches as the film begins — and she’s interested only in the future, telling someone at one point that she doesn’t keep an archive because she’s always looking forward.It’s probably ironic, then, that the most illuminating element of “Happy Clothes” is a sequence in which her taste now is linked to her history as a central figure in New York’s underground culture of the 1970s and 1980s. Former employees and customers attest to what it meant to have a place — her store — where they could be unapologetically queer or trans or just interested in fashion, where they didn’t have to hide their identities. Field was ahead of her time in more ways than one, and this history suggests that she has been practicing an exuberant joy her whole career. That, “Happy Clothes” says, is her real legacy. More

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      As ‘Sex and the City’ Ages, Some Find the Cosmo Glass Half-Empty

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      As the show became more widely available on Netflix, younger viewers have watched it with a critical eye. But its longtime millennial and Gen X fans can’t quit.Most weeks, hundreds of people board a “Sex and the City” themed bus in Manhattan that takes them to the show’s most recognizable sites: Carrie Bradshaw’s apartment, her favorite brunch spot, a sex shop in the West Village. The tour usually ends with — what else? — a Cosmopolitan.“It never gets old,” said Georgette Blau, the owner of On Location Tours. It’s a three-and-a-half-hour entry into an aspirational world many of the riders had been watching for decades, she said.Twenty years since the series finale of “Sex and the City” aired, a new generation of television watchers has grown into adulthood. After all of the episodes were released on Netflix this month, media watchers wondered how the show — and Carrie’s behavior — might hold up for Gen Z.Would they be able to handle the occasional raunchiness of the show, the sometimes toxic relationships? Were the references outdated? “Can Gen Z Even Handle Sex and the City?” Vanity Fair asked. (For its part, Gen Z seems to vacillate between being uninterested and lightly appalled about what they consider to be a period piece.)The show had a very different effect on its longtime fans, many of them a generation or two older. When it aired, “Sex and the City” changed the conversation around how women dated, developed friendships and moved about the world in their 30s and 40s.Even if some of the show’s character arcs aged poorly, many of its original fans still relate to Carrie, Samantha, Charlotte and Miranda, no matter how unrealistic it may have been to live on the Upper East Side with a walk-in closet full of Manolo Blahniks on the salary of a weekly newspaper columnist.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Frances Sternhagen, ‘Sex and the City’ Actress and Tony Winner, Dies at 93

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      Her Tony-winning Broadway career included “Driving Miss Daisy,” “On Golden Pond” and “The Heiress.” On TV she had maternal roles in “Cheers” and “Sex and the City.”Frances Sternhagen, the Tony Award-winning actress who played leading roles in stage productions of “Driving Miss Daisy” and “On Golden Pond” as formidable older women when she was so young that she had to wear aging makeup, died on Monday at her home in New Rochelle, N.Y. She was 93.Her son Tony Carlin confirmed the death.Ms. Sternhagen won Tonys as featured actress in a play for her performances in two very different productions. In a 1995 Broadway revival of “The Heiress,” based on Henry James’s novel “Washington Square,” she was Cherry Jones’s well-meaning, matchmaking Aunt Lavinia. In “The Good Doctor,” Neil Simon’s 1973 take on Chekhov, she played multiple roles in comedy sketches.Ms. Sternhagen came into her own in mature Off Broadway roles: as the strong-willed 70-something-and-up Southern widow in Alfred Uhry’s “Driving Miss Daisy” in 1988, when she was still in her 50s, and the concerned retirement-age wife in Ernest Thompson’s “On Golden Pond” in 1979, when she was 49.She received Tony nominations for her roles in the original productions of “On Golden Pond,” “Equus” and the musical “Angel” and in revivals of “Morning’s at Seven” and “The Sign in Sidney Brustein’s Window.”People who never saw a Broadway show or even went to the movies may have known Ms. Sternhagen’s face from television. Beginning in the 1980s, when she played the controlling working-class mother of the oddball postal carrier Cliff Clavin on “Cheers,” she sailed through a period of playing maternal figures in memorable recurring roles in a number of hit series.Ms. Sternhagen in a 1990 episode of the sitcom “Cheers.” She played the controlling working-class mother of the oddball postal carrier Cliff Clavin (John Ratzenberger, right).Kim Gottlieb-Walker/NBC Universal, via Getty ImagesOn “ER,” she was Dr. John Carter’s aristocratic Chicago grandmother. On “Sex and the City,” she was Trey MacDougal’s rich but peculiar mom. Most recently she played the mother of Kyra Sedgwick’s Southern character on the police procedural “The Closer.” She received three Emmy Award nominations, two for “Cheers” and one for “Sex and the City.”Ms. Sternhagen was known to turn down movie roles because they would take her away from her family for too long, but over the years she did appear in some two dozen films. She was Burt Reynolds’s intensely caring sister-in-law in “Starting Over” (1979), a perfectionist magazine researcher in “Bright Lights, Big City” (1988), and the cookbook author Irma Rombauer in “Julie & Julia” (2009). Her other films included “The Hospital” (1971), “Independence Day” (1983) and “Misery” (1990).But stage was her first home, and her career flourished in Off Broadway productions. She made her New York stage debut at 25 in Jean Anouilh’s “Thieves’ Carnival” at the Cherry Lane Theater, and she won her first Obie Award the next year, for George Bernard Shaw’s “The Admirable Bashville” (1956). She won again in 1965 for two performances (“The Room” and “A Slight Ache”) and received a lifetime achievement Obie in 2013.Ms. Sternhagen, right, and Cherry Jones in the 1995 Broadway revival of “The Heiress.” In a Tony-winning performance, Ms. Sternhagen played the well-meaning, matchmaking Aunt Lavinia.Sara Krulwich/The New York TimesHer reviews were positive from the beginning. “When an intellectual comedy is about to be staged, it is always a wise notion to send for Frances Sternhagen,” Brooks Atkinson wrote in The New York Times in 1959, reviewing “The Saintliness of Margery Kempe,” an Off Broadway comedy. “She is the mistress of sardonic fooling.”Frances Hussey Sternhagen was born on Jan. 13, 1930, in Washington, D.C. She was the only child of John Meier Sternhagen, a United States tax court judge, and Gertrude (Hussey) Sternhagen, a World War I nurse who became a homemaker.Frances attended the Potomac School and the Madeira School, both in Virginia. At Vassar College, she originally studied history but was persuaded by an adviser to give drama a try.Ms. Sternhagen in 1999 at her home in New Rochelle. “It’s through working on characters in plays that I’ve learned about myself, about how people operate,” she said in 2001.Chris Maynard for The New York TimesAfter graduation in 1951, Ms. Sternhagen taught briefly at the Milton Academy in Milton, Mass. When she auditioned at the Brattle Street Theater in nearby Cambridge, she was rejected. “They said I read every part as if I was leading a troop of Girl Scouts out onto a hockey field,” she told The Toronto Star decades later.Returning to Washington, she took theater courses at the Catholic University of America and began appearing in Arena Stage productions.At the same time she began working in New York theater, Ms. Sternhagen also ventured into television work; she made her small-screen debut in 1955 in Thornton Wilder’s “The Skin of Our Teeth,” alongside Helen Hayes, on the series “Producers’ Showcase.” But she didn’t make her feature film debut until a decade later, with a supporting role as a high school librarian in “Up the Down Staircase” (1967). Like many working actors, she appeared on soap operas, including “Love of Life,” and in television commercials.She continued working into her 80s. Her last Broadway appearance was in a 2005 production of Edward Albee’s “Seascape.” Her last New York stage appearance was Off Broadway in “The Madrid” (2013) at City Center, playing the mother of a kindergarten teacher, played by Edie Falco, who up and leaves her job and family.In Ms. Sternhagen’s final film, “And So It Goes” (2014), a comic drama with Michael Douglas and Diane Keaton, she played a wise, snarky and chain-smoking real estate agent.Ms. Sternhagen and Phoebe Strole in an Off Broadway production of “The Madrid,” at City Center in Manhattan in 2013. It was Ms. Sternhagen’s last stage performance.Sara Krulwich/The New York TimesMs. Sternhagen married Thomas Carlin, a fellow actor, in 1956, and they had six children. The couple had met briefly at Catholic University, acted together in “The Skin of Our Teeth” in Maryland and fell in love when both were in the cast of “Thieves’ Carnival” in New York. Mr. Carlin died in 1991.In addition to their son Tony, she is survived by three other sons, Paul, Peter and John; two daughters, Amanda Carlin Sanders and Sarah Carlin; nine grandchildren; and two great-grandchildren. She lived in New Rochelle for more than 60 years.In 2001, Ms. Sternhagen talked to drama students at Vassar and gave an interview to the college’s alumni publication. She revealed that as an actress she liked working from the outside in, starting with how a character speaks and walks rather than with her inner motivation. And she attributed a good deal of her personal emotional development to acting.“It’s through working on characters in plays that I’ve learned about myself, about how people operate,” she said.As for young aspiring actors who look down on paying their dues by appearing in commercials, Ms. Sternhagen suggested, “Think of it as children’s theater.”Alex Traub More

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      ‘And Just Like That …’ Season 2 Finale Recap: On the Verge

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      Carrie gets an unexpected phone call. Aidan has some unexpected news.Season 2, Episode 11: ‘The Last Supper Part Two: Entrée’This sophomore season of “And Just Like That …” finishes almost exactly as it started: with everyone getting laid. We have “you love me too” sex, “moving on from my ex” sex, “giving up control” sex and “I’ll love you forever but might not see you for five years” sex. But the experiences between the lovers in the season finale are deeper, more meaningful and more evolved, much like this season — and in some ways, like this whole franchise.We know this because we were all flies on the wall at “The Last Supper” — Carrie’s final hurrah in her walk-up apartment near Barneys — where, between drink clinks and olive tastings, we got some major, albeit concise, self-reflection out of every single character. As Che puts it to Lisette during some impromptu heavy chitchat, Che is transitioning “emotionally.” But it’s clear Che isn’t the only one.Carrie did, in fact, despite my doubts, sell that apartment for good to Lisette and move to a four-bedroom Gramercy Park palace, which, at least for now, will house just her and her teeny kitty, Shoe.Aidan won’t be there, as was the plan. As we learned in last week’s episode, Aidan’s almost 15-year-old son, Wyatt, is in dire straits, and Aidan believes Wyatt needs his “constant” father nearby, in Norfolk, Va., and not in New York.But he and Carrie aren’t breaking up. They are simply entering a five-year holding pattern that Aidan promises will go by in a silent snap.This is, if you’re looking at it realistically, kind of bull. Yes, Wyatt needs steady, present parents right now, but this idea that his recovery will take precisely five years, and that they couldn’t still visit each other during that time, is contrived. Still, we know already that Season 3 is a go, and Carrie and Aidan — as much as many of us are rooting for them — need to be pried apart somehow if Carrie is to keep having new romantic adventures.It isn’t public knowledge how early the “And Just Like That …” team got the greenlight for Season 3, but it’s fair to speculate that it happened well before the renewal was announced this week. The Season 2 finale doesn’t feel final at all. Instead, it feels as if each character were on the verge of becoming richer, more seasoned versions of themselves.First and foremost, Woke Charlotte is in full effect, and I couldn’t be happier for her. Who would have imagined 25 years ago that the traditionalist Charlotte would become the most vocal feminist of them all? Taking down the patriarchy in her own home, Charlotte once again speaks for women across America in telling Harry that doing a few things around the house does not mean he is doing “it all.”In fact, he is doing the “bare minimum,” she says, of what has been expected of her and pretty much every wife and mother of the modern era (in heterosexual marriages). He deserves no applause. But she does. They say not all heroes wear capes, and in this case, our hero is wearing a disheveled gallerina dress that probably smells like booze and slaying, and that’s just fine.Miranda is taking on a new mind-set as well, addressing finally her pattern of discarding past loves and instead choosing to face that pain head-on. Carrie’s dinner party, which Carrie forced Miranda to attend (a decision I disagreed with!), turns out for the best in terms of Miranda and Che, who land on being a “good train wreck” and end up on at least amicable terms.Miranda was in a relationship with Steve far longer. She was married to him, had a child with him, shared a life and home with him. With Steve, she wants more than niceties, so she goes out to Coney Island to ask for it. Steve’s demeanor lets us know she will likely get it.But even more exciting is the fact that Miranda, too, is stepping up professionally. She is rapidly ascending at Human Rights Watch, enough to be trusted with an impromptu interview on the BBC. She is, well into middle age, finally doing work that matters to her, and I, for one, can’t wait to see more of that in Season 3.Kim Cattrall briefly reprised her “Sex and the City” character in the Season 2 finale of “And Just Like That …”MaxNya’s star is rising quickly as well, with a fast and unanimous vote to elect her into the American Law Institute. She is dismayed that she doesn’t have a man to share that joy with, and it’s easy to feel dismayed in hearing Nya say such a thing. This show is supposed to be about empowerment, right? These women don’t need men around, do they? But her lament, considering she is still grieving a divorce from a longtime love, is honest, and of course wanting a partner isn’t something to apologize for. Happily for Nya, sparks fly by the end of the episode with a Michelin-star chef (Gary Dourdan) who seems, rightly, very, very into her.Lisa, having miscarried her pregnancy in the previous episode, is free from the worry that a baby will derail all that she has worked toward. But more important, she resolves to free herself from the guilt of not having wanted it. Lisa is ready for “her time,” and she is dedicated to pursuing it. (Herbert better get that vasectomy this time.) Che, too, is moving toward whatever new version of themself is yet to come. Che is in, as Lisette calls it, a “cocoon stage.”Which is probably the best way to describe Carrie as well. Her next step is the most mysterious of all. Will this next phase of her life involve Aidan, who is technically still her boyfriend? Will she write another book? Will she become editor-at-large at Enid’s Vivante? Will she take up feeding pigeons every day in Gramercy Park? We don’t know. But we do know, as Carrie tells it, that she will be trying to move forward without expectations.Admittedly, my expectations for Season 2 were relatively low. I was hoping for a more fun, less grief-stricken story, and I got that. But over the past 11 episodes, I’m pleasantly surprised to say I got a lot more. It has been rocky along the way, but I think the show has taken meaningful steps toward inclusivity, achieving richer story lines for the newer characters while also allowing the whole cast, especially its original characters, to mature appropriately.Sure, this series is a little less fancy-free than the original. But it is challenging the ways in which we dismiss women of a certain age, forcing us instead to consider that, maybe, if we let them, women can step more and more into their power with each passing year. And as Carrie would say, that’s just fabulous.Things still taking up space in my brainI think we were all hoping Samantha (Kim Cattrall) would be more than a footnote, but the rumors were that her appearance would be only a cameo, and it was. Considering the bad blood Cattrall has said exists between her and Sarah Jessica Parker, and her insistence that she wanted nothing to do with this series, it is surprising that Cattrall appeared at all. But if this is a setup for Samantha to be more formally incorporated into Season 3, I would truly be thrilled.Aidan says he has provided a sense of normalcy and constancy for his boys over the years, but frankly, I want to hear Kathy’s side of this story. She was always jaunting off to China, but wasn’t Aidan on a work trip in Abu Dhabi the last time he bumped into Carrie? Kathy was the one who had the wherewithal to ask Carrie keep their sons out of her writing. Her protective instinct is very much there. Justice for Kathy in Season 3, please. 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      ‘And Just Like That …’ Season 2 Episode 10 Recap: All Too Familiar

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      It seems maybe Carrie shouldn’t get her heart set on those spacious new Gramercy digs just yet.Season 2, Episode 10:Is Carrie going to have to buy back her old apartment yet again, after a third failed attempt to move on from that place and formally co-habitate with one of her two great loves? This is all feeling a little too familiar.Recall, if you will, “Sex and the City” Season 4, in which Carrie and Aidan break up after he buys Carrie’s original place, and she has to borrow Charlotte’s engagement ring to buy it back from him.Then, in “Sex and the City” movie No. 1, Carrie once again sells her apartment to funnel money into “heaven on Fifth” with Big, only to have him stand her up at the altar, leaving Miranda and Samantha to negotiate its repurchase from their lounge chairs in Mexico.Well, here we go again. Maybe, anyway. Although it isn’t explicitly stated, it is clear that the sale hasn’t closed on either Carrie’s new Gramercy Park place or her O.G. haunt. When Seema freaks out to Carrie over a “disaster,” Carrie immediately thinks it must be about the new apartment. It’s not, but that indicates something about the sale isn’t done.Likewise, Carrie is about to hold a swanky “Last Supper” event at her old place, so it must technically still be hers. (Also, Carrie and Seema still apparently hold the power to kick Carrie’s neighbor and buyer, Lisette, out of the place when they want to eat sushi and gossip on their own. It’s obviously not officially Lisette’s apartment yet.)All this may prove convenient if Aidan does, in fact, break our hearts one more time by deciding he simply can’t spend time in New York, or with Carrie, anymore. There’s no way Carrie is going to be stuck holding that four-bedroom bag.Carrie’s reason for worry is pretty heartbreaking. We find Aidan back in Virginia, sobbing in his car because his son Wyatt (Logan Souza) has broken several bones in a drunk-driving accident, which Aidan feels he could have prevented if he had been around. “I should have been there,” Aidan tells Carrie, weeping.It’s the most gut-punching scene in a whole series of them, from an episode that shines a light on just how unbearably hard it sometimes is to be a parent. It’s especially true if you’re a working mother.That’s a title Charlotte can finally claim for the first time, and at Kasabian Gallery, she is, as her Gen Z co-workers tell her, “slaying.” Charlotte is pouring herself into this job, staying late some nights and, for a change, is not at her family’s beck and call, at the ready to serve every meal and hand-deliver every forgotten notebook. When she makes a six-figure art sale to the singer Sam Smith, there is no way that isn’t being celebrated. So she properly parties with her work pals and stumbles home, sloshed, to her frazzled family.Charlotte may be lit, but she is with it enough to deliver a message that her family, and maybe every family across America, needs to hear: “I was a person before you. I was a person before all of you … You need to get that, OK? And get it together.”Eloquent? No. Poignant? Yes, indeed. Charlotte is done rescuing everyone in that house all day every day. This is her time.It’s exactly the “time” Lisa thought she was evolving into. She says exactly this to Herbert as she tosses and turns in bed. Her career is at its highest point. With a 10-episode deal with PBS on the horizon, she is about to step into a pinnacle moment.But she is unexpectedly pregnant, and as a mom of three already, she knows what that means. Despite Herbert’s promises to help, it simply won’t happen. The bulk of the child-rearing, and all the expectations that surround it, will fall to her because who in their right mind would expect the new city comptroller to interrupt his busy schedule to give a bottle? Despite Lisa’s work being just as worthy and as time-consuming as Herbert’s, she, just like Charlotte, will be the one called on whenever anyone in the family needs something. And babies have a lot of needs.It is worth emphasizing that Lisa apparently asked Herbert to get a vasectomy eight years ago, after their last child was born, but he didn’t. He says he thought Lisa might change her mind about wanting another baby. He thought he knew better than she did. He was wrong.Lighthearted as this show has mostly been in its sophomore season, it must be stated that the commentary laced throughout this episode about the patriarchal oppression faced by even wealthy, connected and variously privileged women at home feels especially pointed in the year of “Barbie.” I’ll be thinking about that all week. Along with these …Things still taking up space in my brainUsually, it’s the older people in relationships who think they have things to teach their younger partners, but in the case of Anthony and Giuseppe, the reverse is true. After a lifetime of playing a very specific role in bed, Anthony might soon be trying out something new.And speaking of trying new things, the trajectory that Stanford’s life has apparently taken is absolutely wild. I’m all for honoring the memory of Willie Garson, who so heartwarmingly and hilariously played Stanford before dying at age 57 during the production of Season 1. But I refuse to believe that the man who gleefully sipped Flirtinis and called himself Rick9+ in cybersex chat rooms became a monk. No.After that horrible stand-up set in which Che absolutely eviscerated Miranda and the integrity of their relationship, Carrie should have uninvited Che from the “Last Supper” dinner party. Sure, Che is a comedian, and Miranda wasn’t supposed to be at Che’s show. She wasn’t supposed to hear any of that. But she was, and she did, and Carrie shouldn’t expect one of her dearest friends to then sit across a table and break bread with someone who was willing to rip her to shreds in public.Buying that stroller for her estranged husband’s new baby is not the own Nya thinks it is. (And Miranda clearly knows that.)No matter how rich a character is, I will never find it believable when someone willingly destroys her own cellphone, as Charlotte does when she thoughtlessly flings hers into a pitcher of margaritas and then cracks up about it. Human beings in the real world just don’t do that.I couldn’t help but notice that the reason Steve now has a new little restaurant by the shore is because he was sitting on a bench in Coney Island wondering, “Where did my baby go?” If you know, you know. More

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      ‘And Just Like That …’ Season 2 Episode 9 Recap: Budding Expectations

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      Lisa has big news. So does Carrie. OK, so do a bunch of characters.The first time Carrie started dating Aidan, back in Season 3 of “Sex and the City,” she found herself routinely waking up with a gasp in the middle of the night. Something felt off. Something felt wrong. But after scouring for whatever unchecked item on her to-do list was giving her this anxiety, she found that, in fact, she “hadn’t so much as missed a teeth cleaning.”It was Aidan who was messing with her head. Carrie couldn’t relax because, for the first time, she was in a relationship where no one was, well, messing with her head. Unlike Big, who was the king of, as Carrie named it, the “seductive withholding dance,” Aidan was a good man, and he was good to her.“It’s smooth sailing,” Carrie said of their relationship. “Nothing but calm seas, blue horizons as far as I can see.”Fast forward to the present, when Carrie and Aidan are once again coupled up after a two-decade hiatus. Just like before, it’s smooth sailing. Everything is working. They just fit.But this time around, while Carrie has never felt more certain that she is in the right relationship with the right man at the right time, it’s others who are having anxiety about it.It began with Miranda, who in last week’s episode asked Carrie if she should “take a beat.” Carrie and Aidan went from zero to cohabitating at warp speed, and Miranda couldn’t help but worry.Even though Carrie assures Miranda that the past isn’t repeating itself, you can still see the look of concern cross Miranda’s face, as well as Charlotte’s, when Carrie shows her friends the giant new apartment she is angling to buy in Gramercy Park. It has plenty of room for Aidan and his three sons, and most important, it is not her old place, in which Aidan won’t set foot. She tells her friends she is ready to sell it.“Are you really that sure, Carrie?” Charlotte asks with distress on her face. But once again, Carrie sings her song. She is sure. She is ready. She is happy.But the doubters keep on coming. Later, it is Aidan’s ex-wife, Kathy (Rosemarie DeWitt), who presents as a harbinger of heartbreak. “I know your history with Aidan,” Kathy says bluntly to Carrie. “You can’t hurt him again.”“Of course you’ll hurt me,” Aidan tells Carrie when he finds out about that conversation. And he will hurt her, and things will get messy, but they will work it out. Aidan is just as sure as Carrie. Everything seems to be going right.So, if the aim of this episode is to convince us, the audience, not to worry that Carrie and Aidan won’t make it work this time — and yet that our doubts are well-founded — well, it’s working.And I hope that the writers, executives and everyone else involved at Max understand that if Aidan and Carrie fall apart in the final two episodes of this season, after all this building of trust — between them, and between them and us — that some of us (me!) will sink into a hole and perish.Meanwhile, not everyone else is so self-assured in matters of the heart. For starters, Anthony has been having dinner, but not sex, with Giuseppe (Sebastiano Pigazzi), the young Italian poet who recently ended his brief stint as a Hot Fella.Maybe it’s his pending divorce from Stanford Blatch (Willie Garson), or maybe it’s just that he can’t figure out what would make a fox like Giuseppe want someone like him. But for whatever reason, Anthony just can’t seem to relax and embrace it. It isn’t until Anthony confronts Giuseppe about what he believes is an obvious scheme to get a green card that he finds out Giuseppe already has dual citizenship. He really does just want to shag. Within moments, they do.Nya, however, has absolutely no issue showing a younger man around her bedroom. She is reveling in hot, casual sex until a gut-punch of an Instagram post crosses her feed: a photo of her ex-husband, hugging a woman we can assume is the hat-wearing songwriter Nya caught him with before. And she is pregnant.Nya, who ultimately ended things with Andre over not wanting to have his child, immediately kicks out her beau — don’t worry, he’s cool with it — so that she can stew over this alone.It’s not the only unexpected pregnancy we get in this episode. Lisa, who has become borderline narcoleptic, falls asleep in her closet and nearly misses Herbert’s big campaign speech at his event at the Goldenblatts’. Lisa tells Herbert, just as he is about to make his remarks, that she is pregnant. It’s a plot twist that neither Herbert — nor, most likely, any of us — saw coming.Maybe the most surprising and delightful development in the episode, though, is the coupling of young Brady Hobbes and Lily Goldenblatt. Is it just a spring fling, or could this be the start of “Sex and the City: The Next Generation”? Mostly I hope not, but considering this franchise clearly has no intention of stopping, you never know.Things still taking up space in my brainAs infallible as Aidan is to me, personally, I have to ding him on this: He absolutely refuses to enter Carrie’s apartment, but when she tells him she is selling it, he tells her, “You don’t have to sell it for me.” Obviously she does?I’m calling it right now: Seema is going to be engaged by the end of this season. It has already been established that some part of her aches to have at least one great love. It should also be noted that she has written off her new beau, Ravi (Armin Amiri), as not being “marriage material.” That’s meant to throw us off the scent, I think. More

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      ‘And Just Like That …’ Season 2, Episode 8 Recap: Domestic Bliss

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      Carrie and Aidan play house. Miranda and Charlotte get back to work.Season 2, Episode 8:Who could have guessed that Che would be the hero we needed to finally ask, out loud, the burning question so many of us have had for Carrie and Aidan for the last 20 years or so?“I mean come on,” Che says to them innocently enough. “Why did this not work out the first time?”It’s a question Carrie hasn’t been able to get out of her head since that fateful Valentine’s Day dinner in last week’s episode. When this week’s kicks off, we find out Carrie and Aidan have been fully back on, spending night after night in hotels, living on $26 room service omelets.It’s not just that they’re dating again. As Carrie tells it to Miranda, she and Aidan are connected in a way now that feels beyond what they ever had. Could it be, Carrie wonders as she walks down the street — clad in some strange jammies-and-slippers get-up with a baby blankie coat to match — that some toxic attachment to Big never allowed her to truly let Aidan in. Maybe she missed out. Maybe, she tells Miranda, Big was a “big mistake.”It kind of makes sense, then, that Carrie and Aidan find themselves playing house, gaming out a life that could have been.Of course, Aidan lives in a Virginia farmhouse with his three sons and an undisclosed number of chickens, but when he’s in New York, he and Carrie essentially live together. They rent out Che’s apartment, saving Che from a string of unruly Airbnb-ers, and when Carrie and Aidan discover that Che has little to no houseware to speak of, they all but clean out a Williams Sonoma (or Crate and Barrel or wherever they are) to fill that void, looking as happy as any couple picking out items for their wedding registry.Naturally, Carrie and Aidan quickly become a “we.” It’s a little too quick for Seema, who dodges Carrie’s invitation to join her and Aidan for dinner. It’s not just jealousy that Carrie has a new boyfriend and Seema doesn’t. The real hurt she feels, as Seema confesses to Carrie over a melodramatic cigarette on Madison Avenue in the rain, is that Carrie has experienced great love — not once, but twice. The harsh truth for Seema is that she may never get that chance. And if she winds up third-wheeling in the Hamptons house she and Carrie are supposed to share this summer, that feeling is going to weigh on her a little too heavily.The Hampton plans are nixed, and Seema insists that she needs space. Carrie lets her go, even though she doesn’t want to.While Carrie and Aidan are rapidly advancing their relationship, both Miranda and Charlotte are taking off in their careers. Although Miranda is merely an intern at Human Rights Watch, she is thrilled about her new position — she’s finally free from corporate law and instead engaged in actual do-gooding. Her fellow interns, who are much younger but have been at the organization longer, are less thrilled when Miranda becomes the supervisor’s pet and is immediately selected for the coveted role of note-taker while they’re stuck slaving over citations. They quickly ice out Miranda like a couple of high school mean girls.Charlotte, on the other hand, has an entirely different, more enlightening experience with the younger set at work.Leading up to her first day at Kasabian Gallery, Charlotte finds herself obsessed with an extra few tummy pounds that simply will not do underneath her perfect new gallerina dress. She consumes nothing but bone broth all week and double bags herself in shapewear, but the “pooch,” which is nearly nonexistent, remains.Charlotte shows up to work, sucked and tucked, covering her midsection with her coat as if she were hiding a pregnancy. But when a 20-something co-worker, who is larger than Charlotte but confidently baring her midriff, swoops down the stairs and tells Charlotte her dress is fierce, Charlotte shakes off all the drama she internalized during the heroin chic era.It’s an abrupt about-face, which is kind of jarring, but as a Xennial who bore witness to Y2K’s relentless body shaming, I can attest, at least anecdotally, that Gen Z is truly an inspiration to older women everywhere in their unabashed embrace of all body sizes and their devil-may-care attitude toward which women are “allowed” to wear certain garments. Even though the crop-top queen Britney Spears ruled our youthful years, few millennial and Gen X women had the stick-slender body type at the time “required” to sport that look. Today, girls bare whatever bellies they’ve got. And as becomes clear immediately to Charlotte, that attitude is helping women of all ages to finally exhale.The best revelation of the episode, though, comes toward the end, when Carrie stops wondering about all of her past missteps and instead starts understanding them.Back in Che’s kitchen, between sips of beer, a quiet pause lingers over Che’s question: Why did things go so wrong between Carrie and Aidan? To Carrie, the answer simple.“Because I made a mistake,” Carrie says, clearly, and with conviction. But the look she gives Aidan right after says even more. Carrie isn’t referring only to the affair she had with Big, which broke up her and Aidan the first time. Nor is she talking only about the cold feet she got during their engagement, which split them up the second time — though certainly those events appear to be huge regrets.Carrie knows now that choosing Big over Aidan, at all, was a colossal blunder, and that the last couple of decades could have been far happier and more fulfilling if she had chosen a life with Aidan instead.And honestly, hallelujah. A significant portion of the fan base (me!) agrees and has never really gotten over it.Carrie and Aidan embrace, and I couldn’t help but wonder … can’t we just end the series right here?Things still taking up space in my brain:It doesn’t take a psychologist to figure out that when Carrie tells Seema she can’t have space because space between friends just leads to more space, she is talking about Samantha. Luckily, Seema doesn’t abscond to London and finds the strength to show up to the “we” dinner, with a smile to boot.If Carrie and Aidan fizzle out by the season finale, I truly don’t know if I can take it. Big got 20-some years. The Aidan stans are owed our longer arc. More

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      ‘And Just Like That …’ Season 2, Episode 7 Recap: Reunited

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      Valentine’s Day drama abounds in this week’s episode, but the most important involves a major figure from Carrie’s past.Season 2, Episode 7At least one aspect of “the old Miranda” is still very much intact. She told us back in Season 2 of “Sex and the City” that when a romance ends, she “would love to be one of those people who’s all: ‘We loved, thank you. You enriched my life. Now, go, prosper.’” But that’s just not her vibe. In her own words, she is much more: “We didn’t work out, you need to not exist.”And so things go with Che.In last week’s episode, Che somewhat abruptly (in my opinion, anyway) ended things with Miranda, and Miranda, self-sufficient and headstrong as ever, is done. She will not be taking Che’s calls, thank you very much, nor will she be having any further emotions about the breakup. She is on to whatever, and whoever, might be next.No one is more impatient for Miranda to move on than Charlotte, the ever-enthusiastic cheerleader for coupledom, who tells Miranda she had better hurry up and figure out if she is gay or straight so that she can find a new person to love, as if that were something anyone could just do on a tight deadline. After all, Miranda rebuts, she was drawn to Che as a person, and that doesn’t necessarily mean she is a full-on lesbian, especially considering Che is nonbinary. Sexuality is complex! Labels shouldn’t define us! Gender is a construct!Except that, in one impromptu shopping trip, Miranda figures out pretty darn fast that sexy sapphic ladies are her thing.At a cosplay-laden reading in the curtained-off back room of Books Are Magic, Miranda comes upon Amelia (Miriam Shor), a woman she has heard read Jane Austen audiobooks many times over. Miranda has always been entranced by that voice, and immediately, she is entranced by Amelia. That’s that. It’s figured out. Hot women get Miranda hot, and she is very down to heed that siren call.Unfortunately, Miranda’s fantasy of how much better dating women will be doesn’t quite live up to the reality. She shows up to Amelia’s apartment for their first date — which just so happens to be on Valentine’s Day — and finds it is grungier than a frat house bunk room. While Miranda is decked out in a tight dress cut just so to expose the tiniest amount of underboob, Amelia is in sweats and caked in cat litter.Miranda sits on the unmade bed waiting for Amelia to return from the bodega when an emergency phone call with Carrie helps her realize that 50-something lesbian Miranda doesn’t have to put up with the same baloney she tolerated in her 30s, so she ghosts. It stands to reason that Miranda will soon be ghosting all the Austen audiobooks in her queue as well.That’s not the only Valentine’s Day chaos ripping through this crew. The holiday is especially taxing for the moms and dads in the group, whose kids are kicking them out of their own homes on the big night. Lisa, who can’t stand her son’s handsy girlfriend, Baxter (Lucie McKenzie), puts the kibosh on his going to the suite Baxter’s parents booked for them, but agrees to let them stay in while she and Herbert go out.The worst fate Lisa can imagine is coming home to discover Herbert Jr. (Elijah Jacob) and his girlfriend have had sex in her bed. She doesn’t anticipate the far worse outcome of returning to discover the kids in her walk-in closet, taking photos with her prized fashions for Instagram. Turns out, that’s a far more egregious invasion of space.Charlotte and Harry are also asked by Lily to excuse themselves, as she is throwing a lonely hearts party of sorts for a crew of “cool girls” from school. Charlotte throws her full support behind her heartbroken daughter (last episode’s condom run was all for naught, apparently) and grabs a homemade brownie on the way to her Early Bird Special date with Harry.It turns out, though, that the little confection was a pot brownie, and Charlotte ends up in the back of an ambulance, full-on freaking out, convinced that she can “feel her blood.”Surprisingly, that little whoopsie with a space cake was the best thing that could have happened to Charlotte. As she comes to in the emergency room, she tells Harry that her life flashed before her eyes, and she wasn’t a fan. Charlotte realizes she has poured her entire self into serving her family and hasn’t left anything for herself. To my personal delight, she announces she is going to take a job in the art world. Boss Lady Charlotte is back.The most important Valentine’s Day date of the episode, of course, is the one Carrie almost doesn’t have with Aidan (John Corbett). The ellipses-laden email she sent last week worked, and Aidan asks to meet Carrie for dinner when he is in town for a meeting.Somehow they both end up at different restaurants right next door to each other, and both spend the better part of an hour thinking the other has stood them up.Honestly, I was sick during this entire scene. It had the feel of the whole Il Cantinori/El Cantinoro fiasco from Carrie’s 35th birthday from “Sex and the City” Season 4, in which everyone did, in fact, stand Carrie up, and I feared the teased appearance of Aidan was nothing more than a hoax yet again.Eventually, finally, Aidan texts Carrie. (What in the world was he waiting for? Much like Charlotte, I thought I was having a stroke.) Soon they find each other on the street. Dinner is lovely, and Carrie invites Aidan back to her place.Standing outside her door, beneath an apartment that was briefly theirs, Aidan momentarily becomes unglued, feeling that he can’t relive all that pain. It once again looks as if it might be over for them before it begins, and the Aidan stan in me once again died a tiny death. Thankfully he remembers there are plenty of hotels in New York, and he and Carrie can simply go knock boots there.Carrie and Aidan are back on, and at least for me, this has made both movies and every cringey scene of this latest series entirely worth it. Let’s go.Things still taking up space in my brain:As roomies, Miranda and Nya are the modern-day “Golden Girls” we need, especially considering Miranda is in her Blanche era. I hope Miranda never moves out.Of the oodles of wordplay this franchise has cranked out over the years, “Mevening” is by far the most usable example, and I’m stealing it. More