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Sex and the City: Sloppy Seconds

After a much-hyped opening weekend, the tally is in on the Sex and the City movie: 

  • mostly mediocre reviews,
  • flocks of fans who couldn't care less about the mediocre reviews,
  • twice the expected box office take, and
  • Hollywood execs perennially perplexed at the presence of pink purchasing power. 

Whether or not, as a certain familiar opening voiceover suggests, "People come to New York looking for the two L's -- love and labels," Counterfeit Chic was amused by the followup metaphor:  "Turns out a knockoff is not as easy to spot when it comes to love."  This chick flick is nothing if not genuinely brand-friendly, the cameo role of an unlabeled vintage suit notwithstanding.  SATC even offers (repeatedly) one of my usual bits of advice for the aspiring fashionista who simply must have a designer label but can't afford to buy it -- namely, rent

Of course, any lucrative transition to the big screen gives rise to the suspicion that the creators of the sharp, observant original show have sold out to the masses.  Nostalgia for Meet Me in Saint Louis?  An apartment hunt based on following a white guy with a baby -- without irony?  Still, SATC includes one truly authentic moment, in which the writers' real attitude shines through.  After ordering a round of cosmopolitans, one of the gang of four wonders aloud why they ever stopped drinking the show's signature pink cocktail.  The answer?  "Because everyone else started." 

P.S.  Speaking of lack of originality, it seems that Sarah Jessica Parker's borrowed finery for the NYC premiere had already taken a turn on the red carpet -- to the dismay of the actress.  Despite the constant comparisons of the ready-to-wear era, enhanced by internet immediacy ("Who Wore It Best?" "Fashion Faceoff"), style-savvy stars still want to project a unique image.  In this case, however, there's something appropriate about a TV trendsetter celebrating her movie adaptation in a second-time-around gown. 

Sarah Jessica Parker (left) in Nina Ricci by Olivier Theyskens; Lauren Santo Domingo with the designer.