feminist historian to the theatre: SATC2

Things I heard walking out of Sex and the City 2 (and no, not from people I was with):

“So, this is was, what, post, post, post feminism?”

“Why all of the excess?  Why was the whole movie about overindulgence?”

Maybe it was an attempt to ignore lingering homesickness, a desired escape from my stagnant apartment, or mere curiosity as to the current goings on of Carrie, Miranda, Samantha, and Charlotte, but I went to take in SATC2 tonight.   Knowing many an academic peer preceded me, and having free movie passes stashed away in my wallet, I headed to the theatre aware that the outing was sure to result in pop culture critique (yah, yah, you can take the gal out of the academy, but you can’t take the academy out of the gal).  I have many friends who much better adept at breaking down this movie, but I will share some thoughts.

My friend David makes the premise clear, stating, “in order for a group of middle class white American women to gain an appreciation of the rights and benefits that this identity bestow they must experience and bear witness to those who are not so privileged.”  Replete with elitism, faux-feminism, and orientalism, Carrie et. al. embrace their “I Am Woman” empowerment via those they encounter who are less fortunate, objectified, oppressed, or culturally misinterpreted.   Critics have deemed the film pro-feminist and anti-Muslim.  While conversations about their experiences being silenced and judged for being empowered, vocal women lean towards feminism, they become sadly insensitive as they joke about eating french fries while wearing a niqab and forgetting to pack one’s burqa.   Though they must briefly walk a mile in Muslim women’s niqab, there is no self-reflection as to the privileges that allow them to choose career, family structure, marital status, sexual behavior, etc.  No amount of Miranda’s quoting of factoids about female Muslim culture remedies this problem.

You might be thinking that I should just let go and simply enjoy a frivolous movie, but given the popularity of SATC, I think it is important to consider such issues.   Especially in light of my encounter with Susan Douglas’ new work, Enlightened Sexism: The Seductive Message that Feminism’s Work is Done, I believe we need to consider carefully how feminism is portrayed.   As Douglas argues, claims of feminism and equality reached justifies modern regeneration of racist stereotyping, sexual objectification, and class exclusivity.  This film is no exception.

I am worried about the flippant commentary this movie makes about modern women.  The comments I heard leaving the theatre make me hopeful.

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