New Line Cinema via Everett Collection
Sex and the City is an important part of television history. It opened up a dialogue about sex, gave a voice to female sexuality and female professionals, and made the Cosmo the drink of the single lady. It has inspired fashion, slang, and even influenced television. Along with Golden Girls, Sex and the City has established a genre of television series. Now, shows about girlfriends defined by four specific archetypes, conversations around a table, and the female friend family unit are popular.
Here is a ranking of some of the best and least inspired shows that give a wink and a nod to Carrie, Samantha, Charlotte, and Miranda.
It’s hard to deny this show is influenced by the popular Sarah Jessica Parker series. The opening sequence for this Kelsey Grammer produced sitcom is enough to make it seem like a rip-off of the show, but this comedy is so much more. The characters are similar to the archetypes of SATC but they are also full-fledged characters. Tracee Ellis Ross plays the queen bee of the group but she is also a lawyer and not as romantically savvy. The show takes the best parts of SATC and pushes them further. It show empowered professional women, the bonds of friendship, while introducing more race, social issues, and opening up more of a dialogue about feminism.
The popular and polarizing Lena Dunham series managed to hold onto the worst parts of SATC and still make an interesting and rich show. Some of the most frustrating parts of the original HBO series were when the women avoided clear communication and reacted impulsively at the detriment to their relationships. It also is a little tough to stomach a series about opulent women who are unburdened in a city as hard as New York. And yet, Dunham’s series uses those exact elements to shine a light on being young, entitled, and neurotic in New York. Hannah offers a more emotionally unbalanced Carrie. Marnie is a more sympathetic and less type-A Miranda. Jessa shows the consequences of Samantha’s wild ways. And Shoshanna is just as funny as Charlotte.
The Carrie Diaries
This show makes no qualms about referencing SATC. It shouldn’t because it’s a prequel. A young Carrie (AnnaSophia Robb) ditches high school for the big city and gets a job at Interview magazine in the 1980s. The show unnecessarily leans on the HBO series when a show about growing up in New York and 1980s nostalgia are enough to make it inherently entertaining. The addition of Lindsey Gort as Samantha is also shaking up the series for the better. However, die-hard fans will notice the major differences. They also seem to dust off SATC references in a bit of a forced kind of way.
This post-SATC series makes no qualms about its connections to the original. It stars former guest star Lucy Liu and employs designer Patricia Field. Darren Star and Candace Bushnell had dueling series at the same time. We side with Star because he’s been doing scandalous soaps for ages. This series opted more for exploring the power dynamics and social lives of high-powered businesswomen. That’s inherently more interesting, and more of a nod to feminism, than SATC. As you can tell from the scene below, it has plenty of gabbing about men, memorable slang, and friendship. It had the potential to be an upgrade to the original but was battling Brooke Shields and her brows.
This series lived and died by its casting. Brooke Shields is a viable candidate for a series about successful career women. However, the choice to cast television show killer Lindsay Price did not help. With weird names like Victory Ford and Nico Reilly and the choice to have the three women be a movie producer, fashion designer, and magazine maven seemed very contrived. At least on Melrose Place, Heather Locklear was a sexy, advertising executive. These choices killed a lot of credibility for the logic of the show and its potential for feminist leanings. Rather than going full-tilt comedy the series opted for a more serious approach to “having it all.” Paging Liz Lemon.
A decade-long gap between sequels could leave a franchise stale but in the case of Men in Black 3 it's the launch pad for an unexpectedly great blockbuster. The kooky antics of Agent J (Will Smith) and Agent K (Tommy Lee Jones) don't stray far from their 1997 and 2002 adventures but without a bombardment of follow-ups to keep the series in mind the wonderfully weird sensibilities of Men in Black feel fresh Smith's natural charisma once again on full display. Barry Sonnenfeld returns for the threequel another space alien romp with a time travel twist — which turns out to be Pandora's Box for the director's deranged imagination.
As time passed in the real world so did it for the timeline in the world of Men in Black. Picking up ten years after MIB 2 J and K are continuing to protect the Earth from alien threats and enforce the law on those who live incognito. While dealing with their own personal issues — K is at his all-time crabbiest for seemingly no reason — the suited duo encounter an old enemy Boris the Animal (Jemaine Clement) a prickly assassin seeking revenge on K who blew his arm off back in the '60s. Their street fight is more of a warning; Boris' real plan is to head back in time to save his arm and kill off K. He's successful prompting J to take his own leap through the time-space continuum — and team up with a younger K (Josh Brolin) to put an end to Boris plans for world domination.
Men in Black 3 is the Will Smith show. Splitting his time between the brick personalities of Jones and Brolin's K Smith struts his stuff with all the fast-talking comedic style that made him a star in yesteryears. In present day he's still the laid back normal guy in a world of oddities — J raises an eyebrow as new head honcho O (Emma Thompson) delivers a eulogy in a screeching alien tongue but coming up with real world explanations for flying saucer crashes comes a little easier. But back in 1969 he's an even bigger fish out water. Surprisingly director Barry Sonnenfeld and writer Etan Cohen dabble in the inherent issues that would spring up if a black gentlemen decked out in a slick suit paraded around New York in the late '60s. A star of Smith's caliber may stray away from that type of racy humor but the hook of Men in Black 3 is the actor's readiness for anything. He turns J's jokey anachronisms into genuine laughs and doesn't mind letting the special effect artists stretch him into an unrecognizable Twizzler for the movie's epic time jump sequence.
Unlike other summer blockbusters Men in Black 3 is light on the action Sonnenfeld utilizing his effects budget and dazzling creature work (by the legendary Rick Baker) to push the comedy forward. J's fight with an oversized extraterrestrial fish won't keep you on the edge of your seat but his slapstick escape and the marine animal's eventual demise are genuinely amusing. Sonnenfeld carries over the twisted sensibilities he displayed in small screen work like Pushing Daisies favoring bizarre banter and elaborating on the kookiness of the alien underworld than battle scenes. MIB3's chase scene is passable but the movie in its prime when Smith is sparring with Brolin and newcomer Michael Stuhlbarg who steals the show as a being capable of seeing the future. His twitchy character keeps Smith and the audience on their toes.
Men in Black 3 digs up nostalgia I wasn't aware I had. Smith's the golden boy of summer and even with modern ingenuity keeping it fresh — Sonnenfeld uses the mandatory 3D to full and fun effect — there's an element to the film that feels plucked from another era. The movie is economical and slight with plenty of lapses in logic that will provoke head scratching on the walk out of the theater but it's also perfectly executed. After ten years of cinematic neutralizing the folks behind Men in Black haven't forgotten what made the first movie work so well. After al these years Smith continues to make the goofy plot wild spectacle and crazed alien antics look good.
In a post-Harry Potter Avatar and Lord of the Rings world the descriptors "sci-fi" and "fantasy" conjure up particular imagery and ideas. The Hunger Games abolishes those expectations rooting its alternate universe in a familiar reality filled with human characters tangible environments and terrifying consequences. Computer graphics are a rarity in writer/director Gary Ross' slow-burn thriller wisely setting aside effects and big action to focus on star Jennifer Lawrence's character's emotional struggle as she embarks on the unthinkable: a 24-person death match on display for the entire nation's viewing pleasure. The final product is a gut-wrenching mature young adult fiction adaptation diffused by occasional meandering but with enough unexpected choices to keep audiences on their toes.
Panem a reconfigured post-apocalyptic America is sectioned off into 12 unique districts and ruled under an iron thumb by the oppressive leaders of The Capitol. To keep the districts producing their specific resources and prevent them from rebelling The Capitol created The Hunger Games an annual competition pitting two 18-or-under "tributes" from each district in a battle to the death. During the ritual tribute "Reaping " teenage Katniss (Lawrence) watches as her 12-year-old sister Primrose is chosen for battle—and quickly jumps to her aid becoming the first District 12 citizen to volunteer for the games. Joined by Peeta (Josh Hutcherson) a meek baker's son and the second tribute Effie the resident designer and Haymitch a former Hunger Games winner-turned-alcoholic-turned-mentor Katniss rides off to The Capitol to train and compete in the 74th Annual Hunger Games.
The greatest triumph of The Hunger Games is Ross' rich realization of the book's many worlds: District 12 is painted as a reminiscent Southern mining town haunting and vibrant; The Capitol is a utopian metropolis obsessed with design and flair; and The Hunger Games battleground is a sprawling forest peppered with Truman Show-esque additions that remind you it's all being controlled by overseers. The small-scale production value adds to the character-first approach and even when the story segues to larger arenas like a tickertape parade in The Capitol's grand Avenue of Tributes hall it's all about Katniss.
For fans the script hits every beat a nearly note-for-note interpretation of author Suzanne Collins' original novel—but those unfamiliar shouldn't worry about missing anything. Ross knows his way around a sharp screenplay (he's the writer of Big Pleasantville and Seabiscuit) and he's comfortable dropping us right into the action. His characters are equally as colorful as Panem Harrelson sticking out as the former tribute enlivened by the chance to coach winners. He's funny he's discreet he's shaded—a quality all the cast members share. As a director Ross employs a distinct often-grating perspective. His shaky cam style emphasizes the reality of the story but in fight scenarios—and even simple establishing shots of District 12's goings-on—the details are lost in motion blur.
But the dread of the scenario is enough to make Hunger Games an engrossing blockbuster. The lead-up to the actual competition is an uncomfortable and biting satire of reality television sports and everything that commands an audience in modern society. Katniss' brooding friend Gale tells her before she departs "What if nobody watched?" speculating that carnage might end if people could turn away. Unfortunately they can't—forcing Katniss and Peeta to become "stars" of the Hunger Games. The duo are pushed to gussy themselves up put on a show and play up their romance for better ratings. Lawrence channels her reserved Academy Award-nominated Winter's Bone character to inhabit Katniss' frustration with the system. She's great at hunting but she doesn't want to kill. She's compassionate and considerate but has no interest in bowing down to the system. She's a leader but she knows full well she's playing The Capitol's game. Even with 23 other contestants vying for the top spot—like American Idol with machetes complete with Ryan Seacrest stand-in Caesar Flickerman (the dazzling Stanley Tucci)—Katniss' greatest hurdle is internal. A brave move for a movie aimed at a young audience.
By the time the actual Games roll around (the movie clocks in at two and a half hours) there's a need to amp up the pace that never comes and The Hunger Games loses footing. Katniss' goal is to avoid the action hiding in trees and caves waiting patiently for the other tributes to off themselves—but the tactic isn't all that thrilling for those watching. Luckily Lawrence Hutcherson and the ensemble of young actors still deliver when they cross paths and particular beats pack all the punch an all-out deathwatch should. PG-13 be damned the film doesn't skimp on the bloodshed even when it comes to killing off children. The Hunger Games bites off a lot for the first film of a franchise and does so bravely and boldly. It may not make it to the end alive but it doesn't go down without a fight.
A scene on The WB's teen-targeted drama Dawson's Creek will show two gay teens locked in an extended kiss Wednesday night, USA Today reported today Monday. "I timed it," Scott Seomin of the Gay and Lesbian Alliance Against Defamation (GLAAD) told the newspaper. "It's like a 5 1/2-second mouth-to-mouth kiss. We haven't seen anything like this before on network TV." The episode is certain to arouse anger among numerous religious and pro-family activists. Heather Cirmo of the Family Research Council in Washington, D.C., told the newspaper that the episode will do a disservice to "impressionable teens who have questions about their sexuality by promoting a myth that homosexuality is something you're born with."
NBC FINALLY MAKES GOOD ON ITS PROMISE TO BUYERS
NBC finally scored a 4.5 rating Saturday night, the precise number that it guaranteed advertisers for its XFL football games. However, it pulled the number with a repeat of the James Bond movie Goldeneye.The movie peaked at 10:30 p.m. with a 5.4/10. Last week, the championship XFL contest averaged only a 2.5/5. The highest numbers for the night were scored by CBS's The District, which earned an 8.8/13 in the 10:00 p.m. hour and helped CBS win the night.
MURDOCH SEEN PULLING OFF DEAL TO BUY DIRECTV
Contrary to earlier reports, News Corp's proposal to take over Hughes Electronics' DirecTV will not be put to a vote of the General Motors board at its regular meeting Tuesday, the Los Angeles Times reported Monday. GM is the parent company of Hughes. Nevertheless, the newspaper said, top GM officials are continuing to meet with News Corp execs, including Chairman Rupert Murdoch, and are expected to recommend that the board approve Murdoch's latest proposal. Citing a "highly placed source," the Times said that a deal for DirecTV to be incorporated into Murdoch's Sky Global Network could come together in the next month.
BACARDI KNOCKING DOWN BARRIERS TO TV BOOZE ADS
Bacardi is expected to slice a large rip in the broadcast and cable industry's self-imposed ban on liquor advertising when it launches a sexy ad for its Disaronno Originale Amaretto liqueur on several cable outlets this week, the Wall Street Journal reported today Monday. The newspaper said that among the cable outlets carrying the spot will be Viacom's VHI, AOL Time Warner's TBC networks, and Comedy Central, jointly owned by Viacom and AOL Time Warner. In most instances, the ads, part of a $1.1-million cable marketing campaign, will run not on the networks themselves, the WSJ observed, but as local spots during station breaks in large markets, thereby circumventing anti-liquor policies by the nets.
BBC PLANS TO AIR LIVE INTERVIEWS WITH EXECUTION WITNESSES
As part of its plan to broadcast a documentary, The Oklahoma Bomber, in Britain on May 16, the day set for Timothy McVeigh's execution, the BBC will air live interviews with relatives of his victims after they have witnessed him being put to death, the London Independent on Sunday reported. The plans have sparked outrage by opponents of the death penalty in Britain. Frances Crook, director of the Howard League for Penal Reform, told the newspaper: "It disgusts me and I think it's a gross misuse of public funds. What makes it so shocking is that it's the BBC, which has a reputation for probity and ethical conduct." But David Belton, who was assigned to produce the live inserts for the documentary, replied, "We want to know if witnessing the execution has been a cathartic experience for the relatives, if it has helped them in the healing process. This is a legitimate question to ask, and it's in the public interest."
BRITISH MINISERIES LIKELY TO INFURIATE VIEWERS
Britain's commercial Channel 4 is bracing for a barrage of criticism when it airs the two-part miniseries Men Only on June 3 and 4, the London Sunday Times reported. The drama depicts upper middle-class men engaging in an assortment of amoral conduct and includes a graphic scene of a nurse being raped by three men, including a doctor, after being drugged with a horse tranquilizer. According to the Sunday Times, the men display little, if any, remorse afterwards. The drama, which was bought by Channel 4 two years ago, had originally been scheduled to air earlier this year, the newspaper said, and some executives of the network have questioned whether it should air at all. But Tessa Ross, head of drama programming for Channel 4, told the Sunday Times that she is "happy for Men Only to go out."
AOL TIME WARNER SETS SIGHTS (AND SITES) ON EUROPE
Seeking to expand its cable and Internet broadband operations into Europe, AOL Time Warner is in talks about forming an alliance with the British cable operator NTL, published reports said Monday.
OPTIMISM RISES OVER POSSIBLE WGA-PRODUCERS DEAL
Film and TV producers spent the weekend at the negotiating table with negotiators for the Writers Guild of America hoping to avert a strike following the expiration of the current labor contract at 12:01 a.m. Wednesday. WGA officials have indicated that they are willing to agree to an extension of the current contract on a day-to-day basis if progress in the talks is being made. They have not yet taken a strike-authorization vote, which is required before a strike can begin. Monday's Los Angeles Times quoted labor and industry executives who have been in contact with the two sides as saying that they expect a deal this week.
REPORTER PUBLISHER SAYS NEWSMAN "LOST HIS OBJECTIVITY"
The publisher of the Hollywood Reporter has defended his decision to kill a story by his labor reporter that accused the trade paper's gossip columnist of accepting favors from two movie producers. Robert J. Dowling said in a statement on Friday that he spiked the story by reporter David Robb "because I felt that, over the course of time, he had lost his objectivity on this issue and was no longer adhering to The Hollywood Reporter's standards of journalistic, ethical and professional conduct." Robb subsequently resigned. Meanwhile, the trade paper reported Monday that the Screen Actors Guild has initiated an audit of gossip columnist George Christy's film credits as part of the guild's routine investigation of individuals who it believes might be defrauding its pension and health plan.
CLOONEY TO RETURN AS BATMAN?
George Clooney is expected to fulfill a deal with Warner Bros. to portray Batman a second time, Britain's Guardian newspaper reported today. The newspaper quoted Darren Aronofsky, who has been tapped to direct the upcoming Batman: Year One, as saying: "George Clooney is going to be back as Batman in the movie. There are no major casting changes." Clooney was critical of his own performance as Batman in 1997's Batman and Robin, joining many reviewers in rapping the movie, which fell far short of studio expectations at the box office.
WEALTHY SINGER TO INVEST IN SCOTTISH MOVIE STUDIO
Former Eurythmics member Dave Stewart has decided to make a substantial investment in an $8-million film studio in Inverness, Scotland, the London Sunday Times reported. The studio, which is due to have a fiber-optic link to Stewart's multimedia company, the Hospital, in London, is likely to become the first film studio in Scotland. It is also being backed by James Cosmo, who costarred in Braveheart with Mel Gibson. "It won't be Hollywood, but it will be a proper working studio," Cosmo told the Sunday Times. Named Highland Studios, the facility sill reportedly have two main sound stages, one 15,000 square feet; the other 8,000 square feet. Plans by a rival group including Sean Connery to build a studio near Edinburgh have stalled, the newspaper said.