Aired: 25 June 2000
Charlotte's gallery scores a big hit with the works of the artist Baird Johnson, rare even for New Yorkers' almost un-shockable standards: drag kings, women completely dressed-up as men; Baird, himself a gentleman, even gets conservative WASP lady Charlotte to pose for him, his way. Samantha was looking for an assistant, but one look on sexy stud Matt decided her mind in his favor; his professionally unacceptable arrogant attitude to her PR clients still gets him fired, but both are immediately eager to start jumping each-other's bones now are they no longer ethically barred. Carrie's boyfriend Sean isn't just young enough to be more boy then her others friends, he's also openly bisexual, which starts her wondering if gender is a dying concept. Miranda is back with Steve and gave him a key, but really wrestles with his tendency to 'invade' her apartment territory, such as sleeping with his head touching 'her' pillow.
This episode was a great summary for me of Sex and the City, it reiterated the basis of Sex and the City bringing up important issues that are occurring in the world today.
After watching many episodes of Sex and the City in a critical perspective I have come to find that I am not a fan of the way the series is put together. Yes, this is a show directed towards women but the lives of these women isn't actually what we are encountering. Carrie is a free lance writer, living in New York making very minimal money and can still manage to afford an apartment and Manolo Blanic? I think not... Sure the other girls like Samantha who is in PR, Miranda a lawyer, and Charlotte being a trust fund baby. The lives these women lead are ridiculously fantasized.
Yes the issues that they encounter are important and do need to be discussed but Carries life in particular seem falsified and far fetched.