One of the things that made ‘The Golden Girls’ an ageless, classic television show is that it showcased a group of women, living together and talking about basically anything and everything — from sex and relationships to life and family.
The most important thing was that they had lots of fun. As a result, everyone in the audience had tons of fun.
If only that were the case with the misguided, woke reboot of ‘Sex in the City’.
Before I begin, let me say this: I find it very difficult to express my feelings about this revival. It is appropriately titled ‘And Just Like That …’..
My age is 37.
When I was in my formative years as well as during my time at Columbia University New York City, The Original HBO Show reached its peak fame, popularity and cultural relevance.
Just not the same: The show was a true cultural phenomenon and for many reasons we should be forever grateful for the barriers that it broke regarding open conversations about women and sexuality
It was hard to express how it felt to be a part of a program about women, friends, relationships, singledom in America, and yes, even sex, on air during that period in my life.
This show was truly a cultural landmark and, for many reasons, we must be eternally grateful for breaking down the walls that prevented us from having open discussions about sexuality and women.
It contained the excesses and pre-woke liberty before 2008’s financial crisis.
Although any reboot of this cultural landmark would have high expectations, I was not expecting to be left disappointed or depressed after seeing the first two episodes.
The original series, although groundbreaking, hasn’t held up in time like many shows from that era. The Sopranos is a series I can watch over and again with very few criticisms.
Many of the promises made by ‘Sex in the City,’ however, were completely fiction and had no connection to real life.
Carrie Bradshaw was the main character in this show. She is a columnist who lives in Manhattan and has a large closet filled with designer clothes.
To put it mildly, she also find the notion of children and marriage repulsive.
Although I do not believe all television should be able to accurately reflect the real world, for certain generations of women this program made false promises about intimacy and sex that are now outdated.
As I get older, I find it hard to believe the message being given to many young women.
However, I digress. Back to the reboot.
Sarah Jessica Parker is an iconic actress who is still great as Carrie.
It is not unusual to have high expectations for a reboot of this cultural icon, but after seeing the first episode, I was surprised at how disappointed and downtrodden I felt.
Problem with this new series? Its inept attempt to transform it into the modern, puritanical times that we live in.
Carrie is the new ‘cisgender women’ in a podcast hosted by younger people.
Of course, one of these is queer-nonbinary. Because it’s so boring and un-evolved to be a straight white woman.
The writers or this maddeningly repressive society are both to blame.
This was the first show I saw about vibrator sex and anal sex. Now entire plotlines focus on microaggressions.
Meghan states that the HBO Max series is simply a misguided, woke revival of ‘Sex in the City.
Cynthia Nixon plays Miranda.
It gets even worse when she attempts to clean up the mess.
“A law professor cannot have hair like mine?” Why? This is what the self-righteous educator asks.
Miranda begins to babble.
“My comment was not about it being black. I had known that you were black before I signed up for the class. It was very important for me,” she says, while the camera zooms in on the faces of other students.
“You signed for this course because you are black?” The professor responds in cruel hypotheses.
This gets even more cringier. Miranda’s hopelessness is the main point.
This is almost like the show wants to tell every generation Xer on ‘Sex in the City,’ that their past was problematic and requires modern redemption.
“And Just Like That …'” also features some fresh faces — exactly like that.
We don’t know much about the characters of these supporting actors, although they exhibit admirable diversity in race and identity.
These words almost appear to be written into scripts in order to please the PC censors.
Uh-huh!
This show fails to realize that there is an effective way of communicating important cultural messages.
It is wokeness superficially shoved down your throat to make a point about wealthy white liberal women ‘evolving’ into the political climate of 2021.
As with so much fallacy in modern liberalism I encounter in major cities these characters appear to include the absurdity some progressive, white women.
I couldn’t sum it up even better than The New York Times’ review which noted that ‘the whole production feels as if it speed-read How to Be an Antiracist in June of 2020’.
It is, above all, not enjoyable. It is not even fun.
It’s not even the fashion that is funny, since it seems more like a costume party than the original fun and frivolity.
Sarah Jessica Parker was an icon actress. She is still amazing as Carrie, the role she played (pictured with Chris Noth),
It’s sad, and it is followed by a funeral for Mr. Big.
It makes no sense, and I cannot speculate why.
This will disappoint me because it is the reason why I’m here now writing or watching the series. It was the first.
Kim Cattrall, Samantha Jones’ favorite character on the series, is no longer with us. This shows how deeply disappointed we are.
It is possible that she would have added some humor and, dare i say it, even a couple of jokes to the show.
There is no sex, aside from a story about Miranda’s teenage son, and his girlfriend. This is something that I don’t think any person wants to hear or see.
It’s awkward, stupid, and gross for a mother to joke about her child’s sex life at brunch.
Unforgettable spoiler: Miranda walks barefoot over her son’s condom.
While I don’t like reboots, I appreciate shows such as Seinfeld for resisting the temptation to return with a huge paycheck. You can’t force certain things to become cultural moment in time.
Today’s world is characterized by a repressive, anti-free speech environment. It is clear that comedy and art suffer from a paranoia. With a few exceptions, Dave Chapelle and others, actors and shows are concerned with angering people or being too progressive.
It isn’t a way of creating fun, or meaningful entertainment.
The enemy of all things is wokeness, and it’s disappointing to say that “And Just Like That” was another Hollywood hit made to please a particular audience.