The second season of “And Just Like That . . .” is “a collision of aesthetic and topical excess that almost feels as if it were created to provoke the most grimaces possible,” cbattan writes.
There are few products of the current I.P.-driven reboot era more cynical—on paper, at least—than “And Just Like That . . . ,” the Max series that resurrected the global icons of “Sex and the City” nearly two decades after the show ended. The first season, conceived during the pandemic, returned to the original friend group , updating their problems to be more menopausal and more in tune with the social and political concerns of the present moment.
And yet, in spite of all this, there is something that feels emotionally genuine—and narratively compelling, even—about the first season of “And Just Like That. . . .” When “Sex and the City” wrapped, in 2004, it left many viewers with a strange, overly sweet taste in their mouths. For six seasons, the showrunner Michael Patrick King and the creator Darren Star had persistently steered the four women toward the darker, peskier, and more unsettling aspects of growing older.
And, even twenty years later, these sometimes-insufferable characters remain compulsively watchable, in part because they’ve remained true to the icky, lovable personas that made them into cultural archetypes. Carrie’s life has quieted down, but she still hasn’t shaken the self-involvement that made her such an anti-heroic protagonist to begin with. When her friends invoke their own life problems, she can only divert their attention back to her grief: “Big dying . . .
And the characters themselves, rather than moving forward, have become lost in their own nostalgic reverie: Carrie’s new solo podcast, after all, is even called “Sex and the City.” She unearths a familiar old gown to attend the Met Gala; later, she is struck by a whimsical desire to e-mail her former love, Aidan. Miraculously, he is divorced and available for a dinner date, on Valentine’s Day, no less.
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