The TV series Sex and the City (1998-2004), adapted from Candice Bushnell’s ‘chick lit’ novel of the same title, is a conspicuous example of popular postfeminism, providing a site for the discussion of ‘traditional’ and ‘contemporary’ relationship forms and the model of female subjectivity they present. Utilising the conventions of romantic fairy tales Sex and the City focuses on the central protagonist Carrie Bradshaw and her quest to experience ‘true love’.1 Yet it departs from the traditional fairy tale forms in its incorporation of postfeminist twists on the fairytale's transformations of the self—the realisation of the ideal ‘true self’, what I term the ‘postfeminist fairy tale’.
http://w3.unisa.edu.au/cil/csaa/files/Isbister_edited_version.pdf
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