Give meaning to this bad and as this end

Note: This story contains spoilers of season 3 “and just like that”, episode 12.

And just like that … we don’t have “and just like that” to kick longer. The restart of HBO Max that we all liked to hate, but we could not stop watching Thursday with his final of season 3, “Party of one”, wrote by showrunner Michael Patrick King and Susan Fales-Hill, half an hour of television that feels very difficult to believe as the last word on his Migacy-Mothership “Sex and the City” involved that all the parties involved on the table with the conclusion here.

Although it had beautiful last moments which were almost up to the meaning of the franchise, the rest was a filling meli-melo-a capricious group of boring Gen Zz, far too much Victor Garber (something that I do not say lightly) and path Too many bathroom hijinks. It is difficult to take most of this as a serious summary of 27 years of these formerly important pioneers of single femininity on television.

In its best moments, the episode presented itself as a meditation on what it means going through your last decades only or in a committed relationship, which honestly resembles a great theme of union for a series that I would like to watch one day. Instead, “and just like that” recovered regularly each time it became vulnerable or interesting, like a lover phobe of engagement. I had been encouraged in the previous episodes by the introduction of heavier themes like Harry (Handler Evan) diagnosed with prostate cancer and Lisa (Nicole Ari Parker) looking at a matter, but in a way, Harry cancer was finally played in a single shore scene.

In this last episode, women attend a nuptial fashion show under a very fragile claim – one of the subjects of Lisa’s documentary is the designer, or something? – And they have too much discussion on the merits of marriage. TLDR: Charlotte (Kristin Davis) and Lisa, the brides, have their complaints, but I would do it again, Carrie (Sarah Jessica Parker) felt “chosen” when she got married and Seema (Sarita Choudhury) thought that she wanted to get married, but perhaps she did not do it because her beautiful current said that he was not in the morning (! Carrie actually speaks the name of Big aloud here and admits that he is dead, which is more than what we have obtained in the previous episodes, so there is that.

But the rest of the episode, until the last moments, sells these characters well below their due. Miranda (Cynthia Nixon) welcomes a Thanksgiving that almost everyone is bulging, with the exception of Carrie, the son of Miranda, Brady (Niall Cunningham), the baby mother of Brady and his random friends of the Z generation, and Mark Kasabian (Garber), a gallery owner with whom Charlotte seems to be with Carrie. Mark finally leaves after a literally execrable scene in which Miranda’s toilets overflow and we actually see poop on the screen. Choose your favorite metaphor here for how this series ends its race. To underline: literally one of the last scenes of Miranda Hobbes on the screen is its cleaning of human waste. Meanwhile, Charlotte and Harry celebrate the holidays with their own family and are delighted when he obtains her first post-cancer bonus while she is preparing the Thanksgiving dinner, declaring herself, I’m sorry to say: “Crisp and ready to bridge.”

It is difficult to overestimate the insult that it all looks like the characters we have loved and followed for decades.

This standard final claims to have a thesis, which, from the start, was the way it is good to age without companion, as long as you have your friends next to you. The last moments were among the best in the whole series, showing that Carrie Blosting Barry White “You’re The First, The Last, My Everything” in her beautiful house, alone, eating a pumpkin pie while standing in the kitchen, always in her striking red tulle skirt that looks like a tutu in the emblematic opening credits. She finally savoring from being alone, engaging in the original series to be a memorably nicknamed “Secret Single Behavior”, things that you can only do when you yourself at home. Then she hits her book a new end: “The woman realized that she was not alone, she was alone.” I have many complaints about this book she writes, but it was a good outcome.

To be honest, I like this end better than the romantic pouffons of the original between The Toxic Big and Carrie. I always thought that she should have been without a clip and return to New York with her friends.

But during her three seasons, “and like that” did not show much interest in Carrie to count on her friends instead of a man, while she was passing from a mourning man (the deceased) to hang on to another (her long-time ex-Aidan), while Seema has, if she had a discernible plot, continued to continue a happy ex-averte. Meanwhile, women were so busy by their work and romantic or family life that they were barely together. Unlike the original series, “and like that” did not focus the friendships of women and suffered from it. Perhaps perhaps would not be realistic for the characters with husbands and children always at home to embark on brunch with friends, but this show was hardly concerned about realism in another way. And, in fact, Carrie seemed to hate Miranda every time they were together this season, a tension that has remained unrelated and unresolved. I was particularly disappointed that the last half hour failed to unite at least the three original women – Carrie, Charlotte and Miranda – for a good time of Thanksgiving together.

So what, if necessary, “and like that”? Carrie cried large and led to a relationship of the same with Aidan who mainly proved that he was horrible. Miranda expanded his sexuality to Midlife, which is interesting. But his relationship with the non -binary comedian faithful Che Diaz (Sara Ramirez) destroyed the confident and anchored Miranda whom we all loved in the original series, and the character has never completely restored. Nothing consequence has really arrived in Charlotte during these three seasons, apart from a fight with a glance with her child who goes out like non -binary and her husband with mainly humorous cancer. And women of color added to the distribution – Seema, Lisa and Dr Nya Wallace forgotten (Karen Pittman) of the first two seasons – are never quite born, a waste of actresses who play them.

Having written an entire book on “Sex and the City”, and after spending two decades to defend it as a really brilliant and significant spectacle, it was painful for me to watch the restart eroding his heritage. I know that many of my colleagues fans felt the same thing, because this series has become a outlet for our rage week after week. But it is the luck that we are grasping when we continue to press the well of nostalgia with works that have nothing new to say, no principle of animation that makes them vital in the moment.

“And just like that” could have redefined the way we see women over 50 years of age of how “Sex and the City” redefined the bachelor during his original race, but it too often made pathetic characters or transformed them into jokes. It is also often, as many fans diatribes pointed out, simply had no meaning and lacked detail. During this particular season, this relationship began to feel really toxic.

I had the strangest feeling by looking at the latter last moments of Carrie in the really joyful look in her house. I could see the Carrie Spark back in the performance of Sarah Jessica Parker after spending a large part of these three seasons crying big or making fun of Aidan, and I thought, It could be the start of a big show.

This is what this show does and for many of us. We continue to want to look, hoping for something better that never manifests. I will miss it, this perpetual hope, and the links that I could instantly train with his fans colleagues by complaining of “and just like that”. But it’s really, really, really time to say goodbye.