Analyse and Discuss the relationships between 2/3 characters in a sit-com of your choice from any TV period. Answers must also engage with the communication between at least 1 character and the audience.
“The glittering lights on Manhattan that Served as backdrops for Edith Wharton’s Bodice-heaving trysts are still glowing – But the stage is empty. No one has Breakfast at Tiffany’s and no-one has Affairs to remember – instead, we have Breakfast at 7am and affairs we try to Forget as quickly as possible. How did we Get into this mess?” Carrie Bradshaw, “Sex and The City” 1:1
“Sex and the City” is an American nineties sit-com revolving around four successful New York women. This programme is being used for my case-study because the show has many media and cultural messages within the subtext of the plot. The question states to discuss “2/3 characters” in the case of this show however, it is important to discuss all four of the main characters.
The individuals all portray various media messages and individual
personality types; the four personalities make up a square and the messages would not be successfully communicated without all four sides. It is also important to note that this sitKerry-Louise Barnaby
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com was, in 2007 turned into a feature film, with a second planned for release in 2010. This essay focuses purely on the television sit-com.
Carrie Bradshaw is the journalist, “quirky romantic heroin” (Bruzzi, Gibson) and the lynchpin whom connects all sides of the media square. Carrie is the protagonist and is the tool used to draw in the audience. The target audience will relate to her as a character and form an emotive bond. She is symbolic and representative of the key female demographic: the women trying to juggle a job, life and love. These women will grow along with Carrie’s character thus keeping the audience captivated and involved, while also feeling that they have someone who understands them and who they can relate to.
Miranda is the lawyer and a strong independent woman. Described in the feature film as a woman who, “favours tough love”. She is a successful career woman who believes she does not need a man in her life to be happy.
Until recently, our world has seen women as secondary citizens who are there to be played with and objectified my males. Miranda, aided by Samantha, could be the tool used to inspire and provide the audience with self-confidence, inner strength and independence. These characters don’t speak their message; they yell to the audience: it is ok to be single.
This new-age, independent personality is shown in Series 2 episode 5 in which Miranda buys her first flat, on her own, without any help, much to the supreme shock of the estate agent and solicitor who cannot believe that a thirty year old woman could buy a flat without a partner: Kerry-Louise Barnaby
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“Estate agent: So…It’s just you? Miranda: Yep…Just me. Estate agent: Such a big apartment to buy for just you. Miranda: I have a lot of shoes Estate agent: Maybe the boyfriend will move in? Miranda: No. No boyfriend; just me.” “Sex and The City” 2:5
This conversation is repeated a few minutes later in the episode, when Miranda meets with her solicitor. The repetition of this conversation reinforces the message that society still sees women as children in need of a partner to look after them.
“Solicitor: So it’s just you? Miranda: Yeah…Just me. Solicitor: Check the single woman box…And the down payment’s coming from your father? Miranda: No…Just me. Solicitor: (Nods sympathetically) Check the single woman box.” “Sex and The City” 2:5
This is an old-fashioned view that women cannot survive on their own and the way in which Miranda asserts herself as an individual who can survive on her own portrays the message to the audience – Women, you do not need a man to be happy and successful.
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Samantha is the eldest of the women by almost ten years. This is a clever media tool used to incorporate an older female market. Samantha’s age transforms this sit-com. It is not exclusive to twenty and thirty-something’s; women in their forties and fifties are welcomed in to learn lessons about love, life, friendship and most importantly: independence and confidence. The character of Samantha could be seen as “A man in a woman’s body”. Samantha is used in two ways to communicate ideas with the audience. On the one hand, her behaviour is very similar to stereotypical male behaviour in society, thus meaning that she could be seen as the man in the group. She is symbolic of men and means that women can, on some level, understand why men behave the way they do. Samantha’s character makes men more accessible and throws male narcissism back at men. Especially in the fact that none of the romantic male characters have names, they are given nicknames such as Mr Big.
Samantha’s character could be compared to Joey Tribiani from American hit sit-com “Friends”. Joey is a stereotypical twentieth century narcissistic male. Throughout the entire ten series’ of “Friends” Joey falls in love only once, in series 8 with one of his best friends Rachel and has no long-term relationships. Joey’s attitude towards women is generally that they are objects to have sexual intercourse with. His attitude towards sex and women is summed up in series 6 episode 09:
“Joey: Dude they’re not objects! Ross: Oh Joey: Just Kidding!” “Friends” 6:09 Kerry-Louise Barnaby
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This implies that he is promiscuous and views sex with women as an everyday leisure activity, similar to the ideas portrayed by Samantha. Samantha is symbolising male sex patterns, but her human side is shown when she discovers she has breast cancer in series 6, episode 14. This storyline allows the audience to; finally, see that Samantha and therefore men are human too.
Samantha is finally seen as a woman suffering distress and
chemotherapy while trying to look good and stay positive.
In episode 16 when she
drastically shaves her head it is symbolic of a woman trying to renew her identity after this life-changing illness. Shaving her head symbolises the start of a new chapter of her life.
Charlotte is the “Wasp” of the group, and is referred to as such in Season 3, Episode 10 at her and Trey’s engagement party, and again in Season 4, Episode 13 when her and Trey’s home is referred to as a “Wasp’s nest”. Charlotte is an, “Upper East-Sider” whose idea of the American Dream is Wifehood and Motherhood. Although she has a career, as a Director of an Art Gallery, she gives her career up in Season 4 when her and husband Trey decide to have a baby. (It is important to note here that all four of the women have well-paid, highflying jobs meaning that their characters are all inspiration to the audience.) Charlotte epitomises women throughout history. Unlike the other characters that are all independent and happy being single, Charlotte is not. She represents the cultural idea that women can’t be happy and are worthless unless they “belong” to a man. One could compare Charlotte’s traditional character and values to that of women of the fifties and sixties. She shares the same traditional uniform, values and ideals and would be at home living in this era.
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“Charlotte is the apotheosis of the haute bourgeois housewife she wishes to become…In social and economic terms, the American equivalent of de Beavoir’s privileged woman is the East Coast WASP socialite, epitomised in the fifties and sixties by Jackie Kennedy…and on celluloid by Grace Kelly.” (Bruzzi, Gibson, 119)
This idea can be enhanced further by Charlotte’s reaction in Series 2 episode 5 when Miranda buys a flat. Miranda is annoyed at how she is treated because she is a single woman buying a flat as opposed to a single man. Carrie and Samantha both tell her it’s because buying on her own sends the message that she does not need a man. Charlotte’s response is:
“Everyone needs a man! That’s why I rent. If you own and he still rents then the power structure is all off. It’s emasculating! Men don’t want a woman who’s too self-sufficient.” “Sex and The City” 2:5
To which Samantha replies:
“I’m sorry did someone just order a Victorian straight-up?!” “Sex and The City” 2:5
This response references Charlotte’s old-fashioned, WASP values and reminds the audience that Charlotte is living in a by-gone era. Charlotte and Samantha are binary opposites, which is necessary to communicate an idea – for example fashion designers exhibit outlandish ideas on the catwalk in the hope that the smallest detail may trigger a change in Kerry-Louise Barnaby
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high street brands – the same is true of media messages in television. Samantha is very promiscuous and sees men as disposable toys, while Charlotte rarely kisses on the first date and to her, the thought of a one-night-stand is ludicrous. Though, again it is important to note that Charlottes character develops throughout the seasons, especially when she meets her second husband Harry. Her ideals change and her character opens her mind to the 20 th century, showing the journey society has made.
The juxtaposition of these two characters works extremely effectively to communicate the “Strong, confident and independent woman” message that is arguably the main message of the sit-com. If what Shakespeare wrote is true, and:
“Jaques: All the world's a stage, And all the men and women merely players; They have their exits and their entrances, And one man in his time plays many parts, His acts being seven ages.” “As You Like It” Act 2, scene 7, 139–143
Then the media messages communicated through “Sex and the City” force women to address the question: who are they and what role do they play in society
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Bibliography:
www.enotes.com/shakespeare-quotes/all-world-s-stage
www.tv.com/sex-and-the-city
www.friends-tv.org
“Reading Sex and The City” – A series of Essays edited by Kim Akass and Janet McCabe 2004
“Sex and the City” – The complete series 1-6.
“Sex and the City” – The feature film.
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