By: Marine Perot
Sex and the City was never celebrated for its subtlety, as Minnie Wright notes in her And Just Like That review; that wasn’t what drew people in to the seminal comedy and kept them there for six seasons. But the absence of any such thing in And Just Like That’s earlier episodes, especially concerning subjects which demand delicacy and nuance, raised eyebrows.
Between the heavy handling of Big’s death, the aggressive focus on the fact that the characters have aged (shock horror) and Miranda’s (Cynthia Nixon) clownish attempts to convince those around her that she’s a thoroughly modern woman, And Just Like That was crying out for the finesse of its predecessor – most notably during its efforts to address those longstanding diversity problems.
The reboot is clearly striving to be more culturally aware and the widening of the net to include individuals such as Dr Naya Wallace (Karen Pittman) – who is a fully-fledged character with anxieties of her own, and not merely present to serve the central trio – is a seismic step in the right direction.
But the first couple of episodes, penned by Sex and the City writer Michael Patrick King, covered too much ground, and far too quickly, which left us feeling like the show was cycling through a checklist rather than genuinely attempting to engage with certain topics.
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Thankfully, the series has since begun to correct its course, settling into a less frantic pace as it applies the cocktail of humour, awkwardness and drama that was key to its former glory to interrogate subjects with a more authoritative approach. Charlotte’s (Kristin Davis) arc, in particular, illustrates that.
In the third episode, ‘When in Rome…’, one of Charlotte’s children – née Rose, now Rock – informs her that they identify as non-binary. And, slowly but surely, Kristin Davis’ character is learning to accept this new development, which probably comes as a surprise to fans of the original given their expectations of Charlotte.
The writing surrounding this strand of the story showcases her growth, but not at the expense of what came before in SATC. She is visibly concerned and confused, and would, in all honesty, like Rock to revert back to Rose, but what we see from Charlotte – a person who cares deeply and only ever has the best of intentions, however misguided her actions can sometimes be – chimes with what we know about her.
In the fifth episode, ‘Tragically Hip’, Harry (Evan Handler) and Charlotte are rendered speechless as a teacher at Rock’s school instructs them on how best to manage their child’s changing identity. Both parents are not so much opposed to it as they are trying to keep up.
Charlotte, who has always strived for perfection, is challenged by her ideals now more than ever, but she also cares about doing things right. We see that in the following episode, ‘Diwali’, when she demonstrates her willingness to allow Rock to express their individuality by allowing them to change their bedroom decor.
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The decision to bump off Big right from the beginning was a brave one given that Carrie’s (Sarah Jessica Parker) arc can now only be concerned with working through her grief as she adapts to a future without the love of her life. The world of SATC as we once knew it shifted dramatically. But overall, how the aftermath of that event has been tackled feels organic.
We’ve seen Carrie at her most vulnerable and, even as she continues to stabilise, with her public displays of raw emotion now few and far between, that loss continues to weigh heavily on her during moments alone.
Miranda, meanwhile, is the only protagonist whose arc still feels clunky. Her unhealthy relationship with alcohol, which appears to have taken a backseat, was handled with all the grace and decorum of a reversing dump truck (as Come Dine with Me contestant Peter Marsh would say). Its inclusion felt like an attempt to set tongues wagging rather than encourage a sincere conversation about what led her to that point.
But as And Just Like That begins to explore Miranda’s sexual awakening (although it is through an affair with Sara Ramirez’s character Che Diaz, which might appear forced to some), we’re gaining more insight into why she was reaching for the bottle before midday.
It also ties into why her relationship with her husband Steve (David Eigenberg) has died a slow death, with Miranda more concerned with yoghurt toppings than the lack of intimacy with her long-time partner.
With the finale airing in a couple of weeks, there’s time yet for Miranda’s story to align itself with the sincerity demonstrated in the handling of Carrie and Charlotte’s arcs. And while achieving the heights of SATC feels like a bridge too far, particularly given the absence of the inimitable Samantha Jones (Kim Cattrall), it certainly has the capacity to become a worthy sequel if it succeeds in staying true to all of its characters.
And Just Like That airs on Thursdays in the UK on Sky Comedy and NOW. For all the latest news, visit our dedicated Drama hub, or find out what else to watch with our TV Guide.