"Just like that" is just like "Sex and the City".

It is not she who has changed but us

Everyone was quick to be disappointed by the sequel to the mythical "Sex and the City," even before it hit the screens.

They say it's not like it used to be, that she's trying too hard and that she does not have Samantha so it's not worth it.

But with the end of the first season we came to mention that this is exactly the same series as before

Songs of salvation

03/02/2022

Thursday, 03 February 2022, 00:00 Updated: Friday, 04 February 2022, 09:18

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"Sex and the City" did a lot of important things at the time, smashed a lot of glass ceilings, brought up issues that until then had only been talked about in rooms, if at all.

That was her job and she did it.

But all this goodness comes alongside many parts that we choose to forget

Nothing was simple for the "Just Like That" series.

Even before they started photographing her, question marks, and a lot of exclamation marks, were already hovering over her.

"Sex and the City" has always been followed by vocal criticism alongside outbursts of love that have hailed it as "groundbreaking", "iconic" and other superlatives.

In the case of the reopening of the franchise to see where our heroines are today, both her lovers and haters were united in their opinion that there is no reason to bring her back from the dead, that there is nothing to innovate, and what about this obsession with reinventing every plot piece?

From the outset it seems that fans of the series will not be able to enjoy any decision made from the moment it became known that the conflict between Kim Cattle and production will not be resolved, and the particularly beloved character of Samantha Jones, who put "sex" in "Sex and the City", will not return to our lives.

Fans' expectations were a difficult starting point for the series, whose production had already suffered from many challenges, such as filming in New York of the Corona Age, but no one could have anticipated the sequence of surprising and tragic events that accompanied its broadcast.

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Someone had to go back to the bachelorette party.

"Just like that" (Photo: HBO Max)

There has not been a really good way to separate Samantha from the story in a way that will satisfy us, but the solution found by the writers is particularly delusional, and there is a lot of responsibility on us viewers to get along with the status quo. She's like, she's not. Understand from this what you will understand. And if that's not enough, then at the end of the first episode we went through another upheaval, when another beloved key character parted ways with the series. Mr. Big, whose love and attention we fought with Carrie all these years, passed away in a tragic and heartbreaking scene, and the whole world changed for us. But… Really? Could we really not see it coming? After all, "Sex and the City" is a series about Carrie Bradshaw, a professional bachelor, and her three single girlfriends. Now we do not even have Samantha, the one we could always trust her not to do this to us and suddenly go and get married, the one who was always the ultimate bachelor, and someone has to get back into that box. And that must be Curry.

So the starting point of the plot is two large elephants that are no longer in the room - both Big and Samantha.

And if there is no Samantha, someone has to sit in the fourth chair at brunch, and in the first few episodes it seems like the one who slipped in there is Stanford, Carrie's other-best-friend.

And even before we could decide whether it was legitimate or pathetic, reality intervened and changed everything.

Actor Willie Gerson, who has played the character of Stanford all these years, has died suddenly.

The writers did not deal with the new crisis very successfully, and did an act of "mini-samantha";

Stanford just got up and disappeared one day without warning, drove… somewhere, for the purpose… something?

With no plausible explanation, Stanford left his best friend Carrie, the one who had just been widowed, and her surprised husband Anthony, puzzled to disappear for plus or minus five minutes, before Anthony moved a slot and filled his place in what became the empty chair of rotating characters.

Lucky we had more at Best Gay around.

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The female perspective has also changed since the days of the original series.

"Just like that" (Photo: HBO Max)

Mr. Big Big Mess

When you take a product from 30 years ago and "revive" it, it almost never stands the test of time.

For the new series to make sense and fit into the current era, many things that were part of its original DNA must change - and change is not something that veteran fans are interested in.

The creators of the series were super proud of their secret twist, but viewers were shocked and heartbroken at Mr. Big's untimely passing.

Celebrities and also just people were quick to get fucked by it in their tweets.

So far it makes sense, say, but then, in a typical American move, viewers went straight to the rage stage, and took it out on the Platon Company, the popular fitness device that Big allegedly trained on the eve of his death, a workout that caused the heart attack that killed him.

Fans were furious with Plato, and the discourse that this workout could cause a heart attack prompted the company to immediately issue an official statement that Mr. Big's death was generally linked to his hedonistic lifestyle over the years, which includes cigars, cocktails and steaks.

And maybe there are heart problems in his family history at all?

who knows!

What do we really know about his family?

They even brought a reference from a real doctor who would give her opinion on this completely fictitious character who died a completely fictitious death on their product.

Did you think language would end the hysterical reaction?

You were wrong, because in Platon increased to do veteran-produced produced an invested commercial in which Chris Knott and their representative (who also appeared in the series as the fitness trainer), sit in front of a burning fireplace and talk about him actually being alive and healthy and handsome and all good.

At the end of the commercial, announcer Ryan Reynolds appears and declares that training with Platon is good for the heart and that "he is alive!".

For a moment it seemed that this troublesome publicity crisis had been resolved, but then, Just Like That -

it happened.

The thing that probably every production in Hollywood nowadays is afraid of, and rightly so.

Two women have revealed that the star of the series, Chris Knott, sexually assaulted them.

A few days later, more evidence arrived.

Overnight, Mr. Big symbolizes sex that women felt free to want as part of their hobby to live through Carrie Bradshaw, to another tear-jerking man in the never-ending parade of men that makes us lose faith in the human race.

Nuth denies and denies there was no consent, but it will not help him.

The actor was fired overnight, lost his job in the series "Equality Point", was fired by his agent, and the Platon company was quick to hide the advertisement starring him and declare that the victims should be believed.

In the production of "Just Like That" they must be very happy that his character managed to die before all this took place, and of course the comma he was supposed to have in the last episode (in Carrie's dream) was re-edited and Mr. Big did not show his face.

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Everything in the status quo service.

"Just like that" (Photo: HBO Max)

Okay, Boomerang

The irony is that "Sex and the City" was part of the revolution whose fruits we are beginning to reap today.

Today we are in the post-Mi-Two era, the discourse on sex is different from end to end, and instead of taking its previous place at the forefront of the liberal struggle, the series finds itself confused and lost amidst all the modern wokeness

"Sex and the City" was a series about young women in their unrealistic 20s, in an over-glamorous and hedonistic world.

She was very exaggerated in every detail of her - from the iconic fashion she displayed, through the characters' unbelievable abundance of life, to her trademark - the relentless preoccupation with sex in all its poses.

She had to exaggerate, to make waves and be an extreme marker of reality.

She submitted a version of life that is an absolute fantasy, to normalize things that at that time the media did not deal with, and specifically sexual women who think they have the right to find love and monogamy, but also orgasms and freedom in single life.

And also full of support from good companies.

And a satisfying career.

And equal shoes.

That they have a point of view that is distinctly feminine and it is time for television to reflect it.

Viewers in the '90s were so thirsty for female heroines that they snatched up this stunning fantasy and embraced it to their hearts, identifying at such high levels that they began to ask themselves, "Am I Carrie, Samantha,

"Sex and the City" did a lot of important things in its time, smashed a lot of glass ceilings, brought up issues that until then had only been talked about in rooms, if at all.

That was her job and she did it.

But all this goodness comes alongside many parts that we choose to forget.

Embarrassing situations that are so bad, unbelievable sex stories, the parade of male men, the wordlessness, and the need to look at Carrie's concentrating face as she writes her column, trying to think of her forced "I could not help but wonder".

Not to mention that the world of her protagonists was white, rich, tronormative and detached from reality.

Even if there were anomalies here and there ("Carrie has a gay boyfriend", "Samantha experiences a lesbian affair", "Miranda earns more than Steve") it was all in the service of the same status quo, simply because the heart was always a quartet of young, beautiful women , Thin, rich, careerist, looking for a relationship with men.

All roads lead back there.

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Of course, they are no longer the extravagant young women of old.

"Just like that" (Photo: screenshot, HBO Max)

Which brings us to the new series, and a period that is completely different from the cultural perspective that "Sex and the City" presented decades ago. The world today is different, and the female point of view has also changed. The women of the series are 20 years older (at least they should be), and of course the viewers and viewers are no longer the merry youngsters as they were at the age of 25. Obviously, the things that interest the characters now are different. Yes, they still want to get into the hot club dressed in the best of couture, but they have teenage children, marriages that may not satisfy them, careers that need to be constantly reinvented, health issues, and sometimes people even die so suddenly without notice and left shattered. All of this is relevant, true to a series like this, and "Just Like That" can and should certainly engage in all of these things.

The problem starts elsewhere.

When you take a product from 30 years ago and "revive" it, it almost never stands the test of time.

For the new series to make sense and fit the current era, many things that were part of its original DNA must change - and change is not something old fans are interested in. Viewers complain about the new characters "pushing" them, the presence of different genders "excessively" , And forget that "Sex and the City" itself, for all the breakthroughs it made, then showed a world with a limited perspective in areas that then did not interest the mainstream, and today can make or break any series.

The irony is that the original series was part of the revolution whose fruits we are beginning to reap today.

Today we are in the post-me-two era, the discourse on sex is different from end to end, gender is something that must be considered, and one has to go very carefully to be on the right side of political correctness.

It's all in the back of "just like that."

Instead of taking her previous place at the forefront of the liberal struggle, she finds herself confused and lost amidst all the modern wokeness.

The fantasy on which the original series was built no longer works, because it just does not matter today to be white, privileged, rich and hedonistic in America.

"Just like that" understands this, and she tries.

Wow, how much she's trying.

Sometimes it works great (yes, one must plot where a young girl decides she is not a child anymore, and one must show her parents dealing with it), sometimes it is lacking (no reference to the issue of sexual assault? Walla?),

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She has no time to hold our hand, she has full of things to say about things she does not understand.

"Just like that" (Photo: HBO Max)

No one likes change

If the creators hadn’t had to juggle so many balls in the air, maybe the first part of the series would have been less crowded and viewers wouldn’t have had such a hard time with it.

"Just Like That" has no time to hold our hand while we mourn Samantha and other characters.

She has melancholy things to say about issues she does not fully understand.

Viewers are asked to hurry up and get to know the heroines again, to say goodbye to important characters, to identify with the problems of people they have just met, while constantly being flooded from every direction in this new world, emphasizing how lost creators are, and it's hard work.

And with all that, innovation innovates in exactly what it promises.

Veteran fans can continue to grab their "curry" necklaces and cry over the glory of the past, but the truth is that what we got here is totally "sex and the city" - exciting and silly, funny and embarrassing.

The characters are charming and unbearable at the same time and their motives are clear and puzzling on and off.

Yes, she gets lost sometimes, but she has not changed.

She is still colorful, stylistic and unrealistic, serving up stunning female friendships, empathetic characters, and beautiful TV moments alongside carnival scenes - all at the same time.

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