The first two episodes of “And Just Like That…” were very general, even a little bit awful, embarrassing, and full of smiles. The forced woke segment in the drama is even more pinpointing.
Of course there are also highlights, such as the cross-editing of Lily’s piano performance and “That Bridge” at the end of the first episode.
But the highlights of “And Just Like That…” are not enough to hide its shortcomings. In order to “advance with the times”, the sequel of a generation of classics has also become the appearance of thousands of poor imitators.
Samantha, the absence of a generation of “sex icon” has doomed this sequel to change from ideal to reality in style.
Samantha’s classic lies in her high idealization: she said what she wanted to do, she did what she wanted, she stood out from the crowd and had no regrets.
Even though she found true love at the end of the show, she still became herself in the movie after all, and she abandoned the “consummation” recognized by the world.
To a certain extent, the classics of the “Sex and the City” series also come from this idealization.
Without so much age, money, and worldly pressure, even if they are classified as “older leftover women” by society, they are still hot, sexy and charming, and there is no shortage of men. In the end, they captured true love.
Fashion, beauty, sex, everything is available.
The absence of Samantha in this play also symbolizes the disillusionment of this “idealization”.
Beautiful beauties are also no match for the washing of time, and the intimate lover can’t be by their side forever, and the once protracted passion will eventually be replaced by the trivial things in life.
All that is left is a sigh like “and just like that”.
So from this perspective, compared to the almost fantasy original, “And Just Like That…” cuts in from a more realistic perspective. Although it will cause a gap in perception, it is also reasonable.
It’s a pity that “And Just Like That…” has a very mediocre effect.
Occasionally a flash of light, but the overall clear soup and lack of water lines, optional soundtrack, forgot to wear and composition after reading, unsatisfactory performance, and new stories of forced woke…
“And Just Like That…” has been split from the positioning.
It not only wants to continue the tone of the rom-com light comedy, but also to puncture the once beautiful “soap bubbles” and let the reality shine in.
As a result, “And Just Like That…” failed at both ends. It was neither happy nor thought-provoking.
Samantha is confident enough, avant-garde, and daring to be herself, and her absence seems to have taken away this “confidence” and this “no regrets” from the drama.
Each of the three protagonists has inserted a “non-white” character in their respective side stories. It seems that the screenwriter has made an apology for the privilege of being criticized by the whites in the series. This “urge to survive” is really too strong.
This is not a bad thing in itself, but at present these new characters are only stuck on dazzling labels: “people of color”, “human rights”, “female”, “interracial”, “non-binary gender” and so on.
After tearing off these labels, what is left is just an empty shell, just a cliché copy and paste, without the elements that are really attractive and empathetic (of course, we still need to look at the follow-up development, but the individual is pessimistic for the time being).
The most terrible branch of Miranda is really embarrassing, and the famous lawyer who used to talk to others has turned into an unbearable Karen.
I can’t understand the screenwriter’s intention, irony? funny?
In addition to “label madman”, the most unbearable thing is to regard “filth” as avant-garde.
Talking about “sex” is not ashamed, but you should also talk about “appropriateness” in different occasions.
No matter how much Samantha says, she always communicates privately with her sisters, and she curses only when she is really bullied.
But she knows how to be decent, and she knows how to be ashamed, and sometimes apologizes if she offends others.
On the other hand, these “avant-garde pioneers” who do their own things in the new era are the decliners and they are staggering.
Kim, the actor who played Samantha, said in an interview in 2017 that he would no longer play Samantha.
One is that she doesn’t want to ruin the classics.
The second is that I am over 60 and want to seize the remaining time to explore a new world and open a new chapter.
The third is other people’s negative attitude towards her choice, which made her unwilling to relive that toxic experience.
She declined the invitation, expressed her blessings, and even suggested to recast the role (very elegant and decent interview, recommended to take a look).
It now appears that her choice is clearly wise.
On the contrary, when explaining the whereabouts of Samantha’s role in this play, it seems inexplicable.
Said she broke up with friends because of work? Self-esteem has been trampled? Still ignored the text messages of the three “good sisters”? Even left New York City? ?
Seeing this passage is really angry, friends who understand the story behind it should know that it was obviously SJP who organized a small group to isolate Kim. Later, after the end of the episode, Kim’s focus was to move to London. She also blamed Kim for preventing them from filming a sequel (in other words, blocking the way for money).
To put it harder, it might be a better choice for the character to write Samantha dead.
But from a commercial point of view, without Samantha, there will be less topicality. Even if the actor Kim has already drawn Samantha’s end, the “sisters” still have to keep Sam alive.
So some people may think that the flower delivery in the second episode is very touching, but in my opinion, it is full of the word “cannibalism”.
Big’s death was quite unexpected, but not outrageous.
To be cruel, Big is not dead, how can Carrie open a new chapter?
What is really outrageous is the reaction when Big is dying at the end of the first episode.
Obviously still angry, Carrie didn’t call 911, didn’t go to get first aid, but cried in a hug.
Bad acting skills, outrageous plot, too much drama. Even if there was a little bit of sadness for this character’s going offline, he was forced to go back abruptly.
Although I don’t want to rush to conclusions, many drama critics have seen the “spoilers” of the first four episodes, and the future of this drama is really bleak.
Stanford actor Willie Garson has died of illness, and the ending of this role will also be explained in the play, which is said to be unsatisfactory.
Various woke plots will continue to increase, even if the audience is open-minded, they will be shocked by the overlapping buffs of this drama.
After watching the fourth episode, it was outrageous. Stanford suddenly abandoned his good friends and husband, without even a decent farewell.
Presumably she doesn’t want to disturb the main story, but she can make this character “alive” through emails and text messages, and then bid farewell when the time is right.
The handling of destroying the character again is really chilling.
As I said at the beginning, “Sex and the City” is an epoch-making classic that has influenced countless urban romance dramas.
It is also HBO’s own “girls” that can also see some shadows of SATC.
But its sequel has become the appearance of its thousands of poor imitators, mediocre, boring, mixed with some smug woke elements, but lost the most important self-confidence and elegance.
But no matter how complaining, there will still be a lot of fans waiting in front of the screen, hoping to relive the beauty of the past.
It’s just this “loyalty”, how long will it last under the worrying quality of the drama?