This Thursday the second season of the series ‘And Just Like That…’ arrives on Spanish screens, the continuation of the famous ‘Sex in New York’, where Sarah Jessica Parker once again walks the streets of Manhattan giving life to Carrie Bradsow. A necessary revision to amend the past in the millennium with more inclusion and diversity.
There is a balance in ‘And Just Like That….’ between the past experiences that were already familiar to us in ‘Sex and the City’ and those that lead to new places, unknown situations. Carrie’s grief has been transcendental and dramatic, but the protagonist begins to rebuild her life. In this second season there will be more romances and adventures for Carrie, Miranda and Charlotte. Sarah Jessica Parker assures that in this installment the series is closer to its origin.
-In this season, romantic partners are not Carrie’s problem, but life. His choices are very radical. Was this a conscious decision?
-Yeah. Michael Patrick King, responsible for the fiction, was very interested in Carrie being single again and life not being as she had imagined. She now finds herself in a completely unknown point. Furthermore, the questions he asks himself is what do you want in life? How do you want to exist in the world? or who do you want to be with in your life? We now have more options than we used to. Before, we were forced by rules, ideas or obligations that Carrie will make certain decisions, but now the range is more open. It is radical to say: I no longer need anything from this person, but it is not so much a point of view, but an exploration to arrive at an answer. Carrie explores what it means to be intimate with someone after being so monogamous in a relationship. Everyone is asking that question this season.
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-Last season it seemed that the series was catching up in terms of representation, diversity and inclusion. Is this season a return to the essence of ‘Sex and the City’?
-Yeah. We’ve been excited about the show’s revival ever since Michael Patrick King and I started talking about revisiting these characters. We always wanted to revisit the end of the series and I mean that in every way. We knew it had been too white and we wanted to bring in more characters, not because it was mandated by the studio, I don’t know if that was ever discussed, but we did it because it was important to us. We were lucky to get people that we knew wanted to be a part of the show. All of them have contributed a great deal of talent, skill and wealth not only to the screen but also to the characters that already existed. The loss of Big set the tone of the first season because it was hard to run away even if we were tempted to. Grief always deserves time and attention, especially when Carrie and Big’s deeply loving relationship is so well documented. This season is natural and normal, with Carrie trying to get her joy back. When joy is allowed to surface, the past life of these characters immediately appears. This season is a hinge between two worlds, but it has not been an intentional act but because that is how life works.
-Carrie is going through a lot this season and it is clear that she is still very grieved by the death of her husband. Did she have a hard time filming those moments as an actress?
-I feel that Carrie is very buoyant this season. I believe that what is lost is revealed when you think you are recovering. That is what Carrie articulates and expresses. This season I have felt very happy, but on a couple of occasions my character remembers her husband and she is overwhelmed with grief. For the most part, Carrie has been happy this season, but there are times when the pain is revived and appears unexpectedly. I think she feels better about the loss, speaking more comfortably because she wants to internalize and feel something that could become a burden.
-As an executive producer, do you have influence on the plot of the series?
-I have been an executive producer of the series for many, many years. I came in first as a consulting executive producer, not because I was ready, but simply because they offered it to me and told me I should do it. Being an executive producer has been part of my job in a very important way for many years. I am not, nor do I want to be, influential in any plot of the story. The soul is Michael Patrick King and he is in charge. I have contributed when Michael has come to me to introduce the season and I have shared my ideas of the character. I’m not a writer, I’m not an editor, I’ve never written a script and I have no idea how to do it. But Michael and I work together on ideas, we work together on scripts as ideas. We all came to Michael with ideas.
-Until what age are you willing to play Carrie?
-As for my interpretation of the character, I will simply say that he is an extraordinary person. It turns out that not only for me, but for the audience, Carrie is extraordinary. She is a woman who has lived a sometimes unpredictable, surprising life, who has inspired people, who has been a good friend, a bad romantic partner, a devoted romantic partner, she has had professional successes and disappointments. She is very interesting because her relationship with the city, love and central politics is unusual and different, she certainly was 25 years ago, and she helped many women. How long she’s going to play her isn’t something I think about. Don’t know. I want to continue playing Carrie for many more years.
-Why this character’s fascination with bags?
-Carrie has had a feverish relationship with shoes especially and with bags to a lesser extent, but I think Carrie is interested in fashion and always has been.
Do you feel nostalgic for the past?
-I definitely feel nostalgic for certain things. It has been very interesting to bring the whole dressing room back and play with it this season. That’s something you can do with clothes, but not with people.
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