What
And Just Like That
is
trying to do is very interesting, but also impossible.
In fact it is possible that I am not even trying and it is I, an unrepentant fan of
Sex and the City
, who is giving its strange sequel an ambition that it really does not have.
You may
And Just Like That
is not a failed attempt, but
an arrogant betrayal
.
FROM NOW ON, STOP READING IF YOU HAVE NOT SEEN THE SERIES YET, YOU INTEND TO DO SO AND / OR YOU HAVE SOMETHING LOVING FOR ITS CHARACTERS, EVEN IF IT IS JUST AN ATOM. END OF WARNING.
Changing the register to something with a perfect tone like
Sex and the City
was not necessary
, but I repeat, as a challenge it was commendable. Although to think that only in this way would we understand that a series about single women in their thirties had turned into another about married women in their fifties is not only to despise the viewer's reasoning (sorry: the fan) but also to savagely betray
the spirit of one of the best comedies that we have ever seen. has given television
. A comedy that now may not know how to be. Of course: if the feat had been achieved, I would be without knowing what to write right now because only one word would come out:
WONDERFUL
.
But neither the feat nor the wonder has been accomplished. Making Carrie Bradshaw a widow is, again,
a very risky gamble.
And, and here there is a feat, here there is a wonder, a decision that
And Just Like That
raises in a way that will go down in TV history both for its courage and for
the formal perfection with which the moment in question is written , directed and performed.
Unfortunately, everything that happens around that absolutely nuclear scene (in all senses of this word) is a constellation of
small betrayals of
Sex and the City
that cannot leave the fan indifferent.
Sorry: the viewer.
The absence of Samantha Jones, a structural mainstay in the series, a character of ten, is approached in
And Just Like That
in a way that
begins by being gracefully sarcastic, then the "gracefully" fades, and finally is an act of almost pettiness. heretical.
Kim Cattrall's character, so often instrumental in
Sex and the City
in establishing the series' founding idea (first friends, then everything else), disappears from the sequel in
a screeching narrative pirouette that could work ... if not let us know who Samantha is
, in life and in the series.
Because people change, but not so much.
And the series change, but some can afford not to.
During its six seasons and ninety-four episodes,
Sex and the City
knew how to be a sitcom and a novel at the same time, frivolous and intelligent, adult and sparkling.
And Just Like That
has aspirations of only being the "important" part of those pairs (novel, intelligent, adult) and forgets that the perfect recipes are best left untouched. And much less remove ingredients.
It's not that we only came to
And Just Like That
to laugh at jokes about cocks and bags (which a bit yes)
and they have deceived us, it is that we have returned to Carrie and her friends because we thought they were willing to sing the song.
mea culpa
for the two smelly movies that pissed on their own legacy and returned to an unsurpassed formula.
But not.
They have gone another way.
A path that perhaps seemed exciting and adventurous on the map, but that also belonged to another series.
To a worse one.
To one where, to begin with, friends do not come first.
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