The original Sex and the City was often criticized for being too white and oblivious to social issues. This reboot tries to fix that, but with the subtlety of a sledgehammer. The show introduces new characters of color (Seema, Lisa Todd Wexley, Nya Wallace), but often uses them as props to lecture the main trio—or to have the trio lecture them. The dialogue often feels like the writers read Twitter threads rather than natural human conversation. Carrie using the phrase "cis-het" or the awkward "I don't see color" moments feel forced, making the characters seem out of touch rather than evolving.
Filmed during the pandemic, the show still manages to make New York look glossy and expensive. The fashion is as high-end as ever, though it leans more into "high art" weirdness than the iconic glamour of the original series. The score is lush, utilizing the original theme in haunting, slowed-down versions to emphasize the loss of the past.
★★★☆☆ (3/5)
Set 11 years after the events of the second movie, the series catches up with (Sarah Jessica Parker), Charlotte (Kristin Davis), and Miranda (Cynthia Nixon) as they navigate the complicated reality of life as women in their 50s. The show tackles aging, grief, sexuality, and parenthood, all while trying to adapt to a vastly changed social landscape in New York City.
Would you like a similar DTHRIP breakdown for another season or a different show?
Michael Patrick King returns as showrunner, but the directorial tone swings violently between sitcom comfort and trauma drama. Episodes oscillate from lighthearted shoe-shopping montages to sudden, graphic death (Big’s Peloton scene). The direction attempts to modernize Sex and the City ’s whimsical, fourth-wall-breaking style but lands in an uncanny valley—too glossy for realism, too bleak for comedy.
Episode 1: Big dies. Episode 2: Carrie screams at his ashes. Episode 4: Miranda fingers Che in Carrie’s kitchen. The pacing lurches from mourning to manic party scenes to lecture-hall discussions on gentrification. Subplots (Charlotte’s child’s non-binary identity, Steve’s hearing loss) are introduced and abandoned. The 10-episode run feels both overstuffed and hollow.
It is possible this is a typo or a very niche file-naming convention. However, if you are looking for a deep dive into the first season of the Sex and the City revival,
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The original Sex and the City was often criticized for being too white and oblivious to social issues. This reboot tries to fix that, but with the subtlety of a sledgehammer. The show introduces new characters of color (Seema, Lisa Todd Wexley, Nya Wallace), but often uses them as props to lecture the main trio—or to have the trio lecture them. The dialogue often feels like the writers read Twitter threads rather than natural human conversation. Carrie using the phrase "cis-het" or the awkward "I don't see color" moments feel forced, making the characters seem out of touch rather than evolving.
Filmed during the pandemic, the show still manages to make New York look glossy and expensive. The fashion is as high-end as ever, though it leans more into "high art" weirdness than the iconic glamour of the original series. The score is lush, utilizing the original theme in haunting, slowed-down versions to emphasize the loss of the past.
★★★☆☆ (3/5)
Set 11 years after the events of the second movie, the series catches up with (Sarah Jessica Parker), Charlotte (Kristin Davis), and Miranda (Cynthia Nixon) as they navigate the complicated reality of life as women in their 50s. The show tackles aging, grief, sexuality, and parenthood, all while trying to adapt to a vastly changed social landscape in New York City.
Would you like a similar DTHRIP breakdown for another season or a different show? and just like that… s01 dthrip
Michael Patrick King returns as showrunner, but the directorial tone swings violently between sitcom comfort and trauma drama. Episodes oscillate from lighthearted shoe-shopping montages to sudden, graphic death (Big’s Peloton scene). The direction attempts to modernize Sex and the City ’s whimsical, fourth-wall-breaking style but lands in an uncanny valley—too glossy for realism, too bleak for comedy.
Episode 1: Big dies. Episode 2: Carrie screams at his ashes. Episode 4: Miranda fingers Che in Carrie’s kitchen. The pacing lurches from mourning to manic party scenes to lecture-hall discussions on gentrification. Subplots (Charlotte’s child’s non-binary identity, Steve’s hearing loss) are introduced and abandoned. The 10-episode run feels both overstuffed and hollow. The original Sex and the City was often
It is possible this is a typo or a very niche file-naming convention. However, if you are looking for a deep dive into the first season of the Sex and the City revival,
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