Princess Olympia of Greece Revives This Iconic Carrie Bradshaw Naked Dress
The strapless gown was worn by Sarah Jessica Parker on Sex and the City.
Tonkin married art gallerist Bernard Lagrange on Saturday.Princess Maria-Olympia of Greece borrowed a dress from Carrie Bradshaw's closet for her friend Phoebe Tonkin's wedding. For the May 10 ceremony, Olympia selected a vintage Donna Karan number dated to 1999.
Sarah Jessica Parker wore the strapless blush-toned ruched dress, which also features a sheer slitted skirt, in a season 2 episode of Sex and the City.
Princess Olympia styled her sparkly gown with diamond drop earrings and nude, rosette-embellished sandals. Wearing her blond tresses in a straightened bob, her makeup consisted of brown eyeshadow, berry blush and a mauve lip.
In a carousel of photos posted to Instagram, the royal also referenced Carrie Bradshaw in her caption. "I couldn't help but wonder," she wrote, referencing one of the character's favorite phrases.
Tonkin, best known for her role on the Australian teen series "H2O: Just Add Water," married art gallerist Bernard Lagrange on Saturday. Other famous attendees included Margot Robbie, Eiza González, Nina Dobrev, and Tonkin's former "H2O" costar Claire Holt.
Princess Olympia is hardly the only star to channel Carrie Bradshaw as of late: Jenna Ortega wore another memorable Sex and the City look at the premiere of her new film Hurry Up Tomorrow. The actress selected SJP's Dior newsprint shift, designed by the label's former creative director John Galliano. Ortega paired the cowl-neck, asymmetrical dress with strappy metallic heels, a dainty gold chain bracelet, and a matching choker.
SATC fans may remember the Y2K-era frock from season 3 of the show, or from the second film. HBO's hit sitcom was adapted for the big screen in 2008, followed by a sequel in 2010.
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NBC News
24 minutes ago
- NBC News
One last Cosmo with Carrie Bradshaw: Fans say goodbye to 'And Just Like That'
Warning: This article contains some "And Just Like That" spoilers. It's the end of an era for New York City's most notorious fictional sex columnist. On Thursday, "And Just Like That," the spinoff of the popular "Sex and the City" series, wrapped up its third and final season. With its conclusion came a bittersweet realization for many fans: Carrie Bradshaw (Sarah Jessica Parker) will likely never walk onto their TV screens in her Manolo Blahniks ever again. The spin-off was met with largely tepid reviews when it debuted on HBO Max in 2021. Viewers have since described it as their favorite show to " hate watch," and called out several ridiculous storylines, including the season one bombshell moment when Carrie's longtime love interest-turned-husband, Mr. Big, dies while riding a Peloton. Many fans have also continued to lament the fact that beloved character Samantha Jones was not part of the new series. (She only makes a brief, off-screen cameo.) But even amid the criticism, "And Just Like That" continued to serve as a nostalgic reminder of the original magic of "Sex and the City," a show that has remained part of the zeitgeist despite ending more than two decades ago. "Even though I've complained a lot about this show, I've quite enjoyed the complaining," Jennifer Keishin Armstrong, author of the book "Sex and the City and Us," told NBC News in an email. "It's still a form of fandom, and fandom is a kind of bonding. It's a way of knowing someone is your people right away." The original show, which ran for six seasons (from 1998 to 2004) on HBO, came to define a generation of viewers, particularly women who saw themselves in the quartet of female characters. It was based on the life and work of Candace Bushnell, who wrote a column for The New York Observer called "Sex and the City" and later a book of the same name. In addition to Carrie Bradshaw's romantic escapades, "SATC" also centered around the female friendships Carrie had with PR queen/sex positive pal Samantha (Kim Cattrall), preppy art dealer/hopeless romantic Charlotte York (Kristin Davis), and feisty, cynical attorney Miranda Hobbes (Cynthia Nixon). "It was a formative show for at least a generation or two of women, one that gave us a new vision for what it meant to be single, independent, professional, and in your 30s," Armstrong said. "Before this, being a single woman in pop culture was sad." "These women showed us that being a single woman meant nights on the town with your girlfriends, constant dishy sex talk at brunch, and a great wardrobe you bought yourself," she added. "That was still new then, and it turned being a single woman from being sad to being glamorous." These women showed us that being a single woman meant nights on the town with your girlfriends, constant dishy sex talk at brunch, and a great wardrobe you bought yourself." -Jennifer Keishin Armstrong, author of the book "Sex and the City and Us" But why does it still resonate? "Now, we have so many shows where women are single and talk about sex and dating," said Eli Rallo, author of the upcoming book, " Does Anyone Else Feel This Way?" 'But what Candace Bushnell and [showrunner] Michael Patrick King did for women in their 30s and beyond during the 90s and early 2000s was taste-making.' The "SATC" universe has continued to strike a chord with viewers "because the show did a perfect job of hitting the nail on the head of true women in their 30s," added Rallo, who has also been described as "Gen Z's Carrie Bradshaw" by some of her 1 million plus followers on Instagram and TikTok. 'And Just Like That" came after two 'SATC' movies (released in 2008 and 2010, respectively) and a prequel series, "The Carrie Diaries" (which aired on the CW for two seasons from 2013-2014). The spin-off served as a continuation of the storyline of the group of friends in New York City, with the women now in their 50s. While Rallo said she understands the criticism toward "And Just Like That," she described the spin-off as a "treat" because it served as an opportunity to see these characters "in a later stage in life." Throughout the 33 episodes of "And Just Like That," Carrie navigates the death of a loved one (Mr. Big), reunites and then splits up with her other former flame (Aidan), and starts anew in a way larger place than her iconic apartment. Miranda gets sober, goes through a divorce, comes out and finds a new career that she's passionate about. Charlotte, still married to the love of her life, Harry Goldenblatt, returns to work as an art dealer while balancing being a mother to two teens (one who comes out as nonbinary). Samantha is no longer part of the group's day-to-day lives, having moved to London. But there were some new additions to the spin-off crew, including: Charlotte's fellow working mom, Lisa Todd Wexley (Nicole Ari Parker); Carrie's realtor-turned-friend, Seema Patel (Sarita Choudhury); and Miranda's now-ex partner, stand-up comic Che Diaz (Sara Ramirez). In Thursday's finale of "And Just Like That," Carrie does the unexpected for a character we've mainly seen entangled in the thralls of romance for the 27 years she's been onscreen. She ends up choosing herself. The show concludes with Carrie at her laptop, rewriting the opening line from the epilogue of her new book. She reads it out loud, in a typical Carrie voiceover, as she types: "The woman realized she wasn't alone. She was on her own." Carrie then gets up and dances around in her apartment. Early reaction to the finale appeared to be lukewarm, with fans on X and TikTok sharing mixed responses Thursday evening. "The ending of And Just Like That Season 3 is mildly chaotic, amusing, and little bittersweet… but I liked it? #AndJustLikeThat" one X user quipped. "The final shot ever is one for the books, sitting at her computer, window-shot, followed by song and dance," one about the finale, which featured a clip of the end scene. Others were less enthusiastic. "The assesination of SATC IS unforgivable," one X user wrote, replying to a post from the show's account. "You've got to be kidding me," one TikTok creator said in her reaction video, calling the finale "disrespectful." King said the decision to end the show came after he consulted with Parker, who serves as an executive producer, as well as Casey Bloys, HBO's chief executive officer, and Sarah Aubrey, HBO's head of original programming. "While I was writing the last episode of 'And Just Like That…' season 3, it became clear to me that this might be a wonderful place to stop," King wrote in his Aug. 1 announcement. Since King posted the news, cast members and fans have reflected on the show's legacy and what it meant to them. "I will always cherish this amazing experience and all of you," Nixon wrote in a post Thursday, giving a special shoutout to "all the undying fans of the show and the SATC universe." Davis also shared a goodbye post, writing, "... in my mind, Charlotte will be living her life in her own glorious way, whether we get to watch her or not. Thanks to all who came along for the ride." Parker's tribute, which she shared on Instagram earlier this month, stirred the most fan response. It garnered more than 772,000 likes. "Carrie Bradshaw has dominated my professional heartbeat for 27 years. I think I have loved her most of all," Parker wrote. "I know others have loved her just as I have. Been frustrated, condemned, and rooted for her. The symphony of all those emotions has been the greatest soundtrack and most consequential companion." In the comments, hundreds of people — including a handful of celebrities — shared their love for Parker and Carrie. "This show has been the greatest friend and companion for 30 years," comedian Billy Eichner wrote. "So many of us grew up with it. Thank you for all the hard work and devotion." "THIS IS ALL TOO FINAL SOUNDING! AND I AM NOT READY!!!" musician Kelly Rowland commented. But Parker hasn't entirely dismissed the possibility of returning to Carrie one day. "I have learned not to say goodbye, but to say farewell," she told culture commentator Evan Ross Katz in a recent Q&A hosted by Threads and HBO Max. "There's a distinction ... You arrive at this decision, and it's incredibly hard to be definitive and to say it ... But I think it's the respect and the affection that we feel for the experience in totality that leads you to a decision like this." Years ago, Parker said, she never would have expected to make "Sex and the City" movies, let alone a spin-off. Then King called, and Parker said, "It was so apparent to both of us that it felt right" to revisit the universe with a new show. "So who knows?" she told Katz.
Atlantic
24 minutes ago
- Atlantic
Goodbye to All That
Carrie Bradshaw's last episode of television ended not with a bang but with a flush, which feels appropriate somehow. 'Party of One,' the series finale of HBO Max's And Just Like That, rehashes old patterns for the show's last hurrah, but no one's heart seems to really be in it: Miranda tries to adjust to an unexpected pregnancy; Seema wonders if she could be happily partnered without marriage; Charlotte tells Carrie, 'I'm so excited to show you my new hallway,' to which Carrie replies, pro forma, 'I may be alone for the rest of my life.' The image left in my head, though, is of the toilet bowl being frantically flushed by Charlotte's art-dealer boss, a man whose private jet can't spare him from the gastrointestinal Thanksgiving issues of a lactose-intolerant Gen Zer. Humiliation, more than anything else, has been the theme of all three seasons of And Just Like That, a cringe comedy without comedy. (Who among us will ever forget Carrie peeing into a plastic bottle while Miranda got to third base with Che in her kitchen, or Charlotte taking a pratfall onto a Tracey Emin–esque art installation and emerging with a used condom stuck to her face?) To be fair to the series, which is more than it deserves, Sex and the City was also often about mortification—the indignity of putting yourself out there as a single woman time and time again, only to be rewarded with funky spunk, porn-addicted dates, pregnancy scares, STDs, men who can't ejaculate without shouting misogynist slurs, envelopes full of cash on the nightstand. When it debuted on HBO in 1998, Darren Star and Michael Patrick King's show seemed determined to puncture the fantasy of single life in post-feminist Manhattan. 'Welcome to the age of un-innocence,' Sarah Jessica Parker's Carrie narrated in the pilot. 'No one has breakfast at Tiffany's, and no one has affairs to remember. Instead we have breakfast at 7 a.m. and affairs we try to forget as quickly as possible.' Over the course of six seasons and two movies, the show's thrillingly cynical core got smothered by cloying commercialism—a fixation on both wide-eyed romance and flamboyant luxury. What stayed consistent, though, was the disgust the show seemed to manifest anytime it was forced to think about the corporeal bodies beneath the characters' clothes: Carrie's horror at Miranda's postpartum nipples and Samantha's disgust at her unwaxed bikini line, Charlotte's refusal to look at her own vagina, Anthony's appalled proclamation—when Samantha returned from Los Angeles approximately three pounds heavier—of 'Mother of God, what's with the gut!' And Just Like That has been a lot of things since its debut late in 2021: an apologia for the sins of the past, a lookbook, a backdrop for cameos from the two most Machiavellian men on reality television. But it's consistently been oddly squeamish about both sex and human physicality—almost pathologically so. During the first season, critics winced at the heavy-handed flagellation of the characters for their unconscious bias and uptight middle age; during the second, the show's lack of purpose and stakes crystallized into excruciating storylines about strap-on sex toys and, in one case, an unsolicited octogenarian dick pic that rudely interrupted a fundraiser with Gloria Steinem. The third season, set in the more genteel location of Carrie's new Gramercy Park townhouse, seemed nevertheless stuck on the idea that anyone still tuning in must be watching with the sound off, cackling at the visuals of their favorite characters being ritualistically shamed for the crime of aging. And so: We had not one but two stories about Harry's penis—first a brief examination of something called 'ghost sperm' that troubled Charlotte during sex, followed by a multi-episode storyline about prostate cancer that left Harry impotent and peeing all over his raw-denim jeans. Seema's armpits occupied a variety of scenes, culminating in the gardener she began dating recommending a crystal deodorant that failed her during a crucial business meeting. Charlotte's sudden struggle with vertigo left her staggering all over Manhattan like a toddler on a boat. Miranda, cursed on this show like no one else, had sex with someone who turned out to be a virgin nun, accidentally flashed Carrie, became a meme after a disastrous appearance on live television, and eventually found love with a woman who's strikingly weird about her dogs, even for a Brit. And Just Like That, as Jake Nevins wrote in July, 'feels, at times, openly hostile to its own source material and even to the characters themselves.' The pie shoved in Anthony's face by his lover, Giuseppe, felt like a neat distillation of how crudely the series seemed to clown its characters, week after week after week. Earlier this year, I wrote about television's current obsession with extreme wealth, and how shows such as And Just Like That suffer from the diminished stakes that come with easy abundance. When you're insulated from calamity, maybe, the worst thing that can happen is physical degradation—a reminder that no matter how big your closet, how exclusive your couture, we all share the same basic bodily functions, which can fail and shame us in all the same discomfiting ways. Still, the casual cruelty with which And Just Like That treated its cast's bodies as punch lines and visual gags seemed to suggest a deeper unease with what it means to age—to be undeniably, messily human. The show occasionally expressed the same kind of disgust toward poverty, or toward any evidence of how rising inequality in New York has left many people to live. In the finale, Carrie visits her old apartment, now occupied by a jewelry designer named Lisette, and is horrified to see that Lisette has divided the studio into two claustrophobic spaces with a temporary wall, presumably because she can't afford roughly 600 square feet on the Upper East Side all by herself. The moment reminded me of a plotline in Season 2, in which Miranda went home with a voice actor who was her dream date, only to be repelled by the woman's cramped space: the cat-litter tray, the unmade bed. No one wants their fantasies to be punctured so abruptly, and yet both scenes demonstrate how out of touch these characters have become, and how hard it is for us to empathize with them in turn. Anthropological curiosity used to define Carrie's work as a columnist; now, in her 50s, she's happier behind the walls of an inward-facing fantasy land, posing for no one in her pre–Gilded Age living room, and turning her romantic misadventures into a god-awfully mawkish historical novel. It's not the ending I would have chosen, but it sure does make it easier to say goodbye.
Fox News
an hour ago
- Fox News
Priced out in Las Vegas? 5 costly steaks that can cut into tourists' wallets
Tourism in Las Vegas has dropped this summer relative to recent years, with visitors griping about Sin City's high prices, including exorbitant resort fees. But for some tourists, Vegas is still the ultimate place for indulgent amenities, drinks and – above all – once-in-a-lifetime meals. Jackie Dadas-Kraper, a Las Vegas-based publicist and vice president at Interdependence Public Relations, said the city's steak dinners can be "a performance, a status symbol and a story all in one." "Tourists are willing to spend three or even four figures on steak because this city elevates dining into an experience," she told Fox News Digital. "Here, a steakhouse meal is more than just food. It's a celebration of taste, travel and unforgettable moments." But are the unforgettable moments worth the price? Below are some examples of high-priced steaks that can cut into your wallet after just one dinner. This steakhouse's signature showpiece is a $1,000 spectacle known as "The Beef Case." It's exclusively available at the glitzy Papi Steak, inside the Fontainebleau hotel. The dish features a 55-ounce Australian wagyu tomahawk steak. It has a marbling score of 9 – the highest possible rating. To complete the over-the-top experience, the steak has been known to arrive inside a custom-designed diamond-studded suitcase. At nearly 3.5 pounds, the steak is built for sharing. John Travolta once ate the famed dish at the restaurant's Miami Beach location, as People and other sources reported. Fox News Digital reached out to Papi Steak for more information. The "Tomahawk Feast" at One Steakhouse features dry-aged U.S. Department of Agriculture (USDA) Prime tomahawk steaks, weighing a hefty 18 pounds. The feast also comes with six sides, ranging from forest mushrooms to lobster macaroni and cheese. Priced at $1,500, it serves 10 to 12 guests and is carved at the table. But there's a catch. The tomahawk must be ordered 72 hours in advance, so that the beef can be sourced and adequately prepared, according to the restaurant. The "Taste of Japan" at the Wynn's Carversteak features a selection of traditional Japanese A5 wagyu, along with a 5-ounce Miyazaki wagyu striploin. Accompaniments include black garlic‑mirin mushrooms, shishito peppers and tare sauce. Yuzu kosho, a Japanese citrus-chili paste, is also added. At a cost of $300, there is a 4-ounce minimum and every additional ounce is $75, according to the restaurant's menu. The restaurant also offers less-expensive American wagyu, though that is still priced as high as $145. The Four Sixes Ranch Steakhouse at the Wynn offers a "Japanese Purebred Freedom Wagyu Tomahawk" dish. It weighs a hefty 48 ounces and is priced at $999.90. The beef, which is sourced from Freedom, Wyoming's Grazing Star Ranch, is carved tableside. The dish also features beef tallow raclette cheese popovers and is served with a side of bordelaise sauce. "Vaca vieja" means "old cow" in Spanish. The dish, inspired by Spanish cuisine, according to Bazaar Meat's website, offers a more mineral-rich flavor than younger beef. The per-pound price costs about $90, meaning that a bone-in cut could shoot upwards of $750. "The Bazaar team works with Mindful Meats in California, where they source whole, live 8- to 10-year-old Jerseys and Holsteins from certified-organic, non-GMO ranches in Marin and Sonoma counties for this dish," according to the menu. If you just want to try it, a tasting portion is $64. But you'll need to time it just right. The restaurant reopens at the Venetian Resort's Palazzo on Sept. 4.
