And just like that... ‘Sex and the City’ returns

“And Just Like That,” the upcoming “Sex and the City” reboot, has some big stiletto shoes to fill.

Source: HBO

And just like that... it is back. Three-quarters of the famous foursome will, once again, be strapping on their Manolo Blahniks, strutting down the sidewalks of the Big Apple, trying not to run into their numerous exes. Nearly 17 years on from the airing of the final episode (let’s just forget those two movies ever happened), “Sex and the City” will grace our screens once more, no longer shrouded in the haze of the 90s, instead facing the harsh daylight of the not-so-roaring 20s. Binge-worthy television shows have been as valuable a commodity as Joe Wicks during this pandemic period (and require a lot less effort), so the hype that has accompanied the announcement comes as no surprise.

The change of title also comes as no surprise, as it remains to be seen how much sex will be left in “Sex and the City” without Kim Cattrall’s vivacious, outrageous Samantha. Her self-confidence, self-prioritisation and indifference to the opinions of others made her a fan favourite, and many were happy to proclaim “I’m definitely a Samantha” when asked which character they most embodied (honestly, I’m more of a Charlotte). She will be sorely missed, and it will be difficult, nigh impossible, for anyone to fill those skyscraper stilettos.

But, the show must go on, and on it goes. Now in their 50s, the three remaining besties will surely face obstacles on many fronts: men, careers, children. But with the remaining protagonists married, as far as we know, how will the reboot retain its unique selling point? Will its focus on female friendships take a supporting role? Will their friendship be an escape from their work or their marriages rather than taking centre stage? I accept that the initial audience has grown with the show, and those who loved it in the 90s will now be in their 40s and 50s and may wish to see their own lives (at least their lives accompanied by designer shoes and extortionately priced apartments) projected on the screen. But will the show be able to entice a new audience? Will today’s young, independent, single women, who arguably do not face the same pressure to be in a relationship, identify with these women who once appeared radical in their views, but whose actions now, at times, are tinged with desperation?

Whilst ahead of its time in the portrayal of the female sexual experience and its female-centred narrative, even Carrie’s most voluptuous tutu can’t hide the Big issues (pun intended) that will not go unnoticed in today’s social climate. “I’m not even sure bisexuality exists. I think it’s just a layover on the way to Gaytown.” “Trendy by day and tranny by night.” “Ghetto gold jewellery.” Oh, what a difference two decades make. Since the infamous Christian Dior newspaper dress, newspapers have been filled with stories of Black Lives Matter, #MeToo and acceptance of all sexual orientations. Same-sex couples were unable to marry legally in New York until 2011, a year after the second movie (I’m sorry, I know I said we wouldn’t talk about it). The first African-American president of the United States, Barack Obama, was inaugurated in January 2009. The change in societal norms since the show ended has been great and this constant progression has played out on our television screens.

Source: Flickr

Let’s face it, “Sex and the City” was devoid of diversity. In one of the most diverse cities in the world, the story centred around four white, heterosexual women. The gay best-friend trope was present, with the only two prominent homosexual characters ending up married, even though they had despised each other from the beginning. The lack of prominent BAME characters was exacerbated by the nonchalant use of racial stereotypes. Chain jewellery described as “ghetto gold,” Samantha donning an afro wig, a rare relationship with a Black man ended by his angry sister. There were also issues with the “white saviour” narrative that accompanied Charlotte’s adoption of her daughter from China, as well as the portrayal of the Jewish culture, as Harry was initially portrayed as being so grotesque, due to his excessive sweating and hairy back, that Charlotte couldn’t understand why she liked him and avoided being seen with him in public. From the perspective of someone introduced to the show at a time when television is as diverse as it has ever been, it took me by surprise how casually these issues were glossed over with the mention of a designer label or a flick of perfectly styled hair. My laughter was often quickly replaced by a sharp intake of breath at the nonchalant use of offensive colloquialisms.

From our perspective, the feminist narrative appears less radical than it seemed then. Materialism prevails as Carrie’s world revolves around shoes and the quest for a bigger closet, which she ultimately gets given by the man who jilts her at the altar. Who needs “I do” when you have a closet the size of most New York apartments? Her relationship with her shoes is more secure than any romantic relationships she is involved in throughout the six series (although I do, on some level, understand that). Yet, she is the woman being paid to write articles and books on relationships and is so successful that she deserves to be on the side of a bus. If Carrie is a relationship guru, I’m a fitness guru... and trust me, I’m out of breath just writing this!

The reboot has no choice but to adapt and I believe that it will. Cynthia Nixon, who plays the independent, driven Miranda, came out as bisexual after the series ended and has since been a prominent political activist championing LGBTQ+, reproductive and women’s rights. The fallacies of the original series will not have gone unnoticed by those involved and, with the involvement of such a powerful advocate at a time when there is such a hunger for change, a refashioning of something so familiar would make a statement. Fantastical fashion will provide some much-needed comfort and escapism in a time of such hardship, but an injection of realism, rather than Botox, is needed and anticipated. To witness the societal changes play out on screen would be a powerful representation of how far we have come, albeit that we still have a long way to go. We must hope that the series reaches the end of the runway with its head held high, and doesn’t do a Carrie, tripping over expectations as high as her heels.

Can I wait for the new series? I’m sorry. I can’t. Don’t hate me.