“I think it was just really hard for people to allow me to be somebody who isn’t joyfully tripping through Manhattan,” Sarah Jessica Parker says, of her roles after Carrie Bradshaw—but she hasn’t felt the urge to escape her association with the character.
Carrie and the other women of “S.A.T.C.”—the Waspy art gallerina Charlotte York , the pragmatic lawyer Miranda Hobbes , and the uninhibited publicist Samantha Jones —chain-smoked, caroused, got bikini waxes, and dished around the brunch table about “tuchus lingus,” the taste of semen, and errant flatulence. Parker told me that such things were “completely unfamiliar” to her. “That just was not how I conducted conversations,” she said.
“Sex and the City” was hotly debated from the outset. Some viewers endorsed it as a fresh feminist text. Others dismissed it as a materialist fantasy. Plenty of the commentary was tinged with sexism: Was it too frivolous? Too slutty? One of the most divisive aspects of the series, even among fans, was its conventional dénouement: Carrie ends up with Big, and all the other protagonists happily pair off with men.
King began writing “And Just Like That” during the summer of 2020, in the midst of the nation’s reckoning with racial injustice. In the original “S.A.T.C.,” the four women rarely stepped outside of their white, wealthy world. When Miranda moved to Brooklyn, in the final season, the friends mourned as if she were going to war. King told me, “When ‘And Just Like That’ happened, there were two topics in the city: race and gender.
One morning in April, I went to watch Parker and King work on new episodes of “And Just Like That” in an editing suite near Penn Station. Parker sat cross-legged on a gray love seat. King, a tall redhead with pointy features, sat beside her. Parker told me that the two grew close before Darren Star departed as showrunner. “It was almost an arranged marriage,” she recalled, adding, of Star, “He was setting the table so that we wouldn’t feel, or I wouldn’t feel, untethered or without a partner.
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