  I think the writers of Sex and the City must have had a crisis of sorts, and therefore decided to kill the show that represented their now-dead values. This, the wrap-up season, is full of statements on shallow women who have hit bottom in their shallow-hood and now are reclaiming themselves as people who really do believe in romance, love, life, and sincerity. The main character of the show, New York City, is preparing its swan dance in the bright autumn colors that leave us to believe the dead of winter will set on all the facades: Oscar de Lorenta, Central Park, and Carrie Bradshaw's belief that romance was a placating warm blanket people outside the city held onto when reality felt too cold. She, of course, has always known better, that is until the writers brought in a foreign lover to show her the way.
Did they fall out of love with New York City? Or America? What are they telling us? What's the big moral? Underneath (or on top of? ) all those expensive shoes and poofy dresses we're just tired? I don't know, maybe I'm to romantic in my thoughts on the show that I've quite literally grown up with. Maybe Sara Jessica Parker simply can't be botoxed back into her thirties any longer so they were left with the choice of making a Carrie-bot or killing the show. For me, part of the romance fell away when I bought Kim Cattrall's book Satisfaction and found that I'd actually tried all those positions before I was twenty-five.
It didn't help that Cattrall was divorced to her life's love and co-author before the book hit print. To quote tonight's show, Samantha, I expected more of you. Of course another big chunk of the magic was lost when Miranda got pregnant and, instead of portraying this aspect of albeit stylized women's lives as another choice in the myriad of forks that we can stylishly enjoy, pregnancy and motherhood were clearly among the distasteful sidebars women endure along with bikini waxes and messy cunnilingus kisses.
Carrie herself is seeming unbelievably shallow these past two seasons. Ironically, the character who was initially introduced to represent shallow, Big, is a giant leap of character above Carrie. Do the writers want me to feel this way about her? Is that their commentary on our culture? Are we left to admire the traditionally (in the run of the show, anyway) weak Charlotte as the archetype of femininity?
After all, she held to her ideals without wavering the whole run, and she's ending with all her goals met: marriage, family, money, and the johnny-come-lately value religion... OK, I'm confused, I'm still going to stick out the rest of the season. But now I have to go because the guys from Queer Eye are on South Park. Rock. 
