New ‘Sex and the City’ series ‘And Just Like That’ is woke, weird and awful

Spoilers ahead.

Unpopular opinion: Carrie Bradshaw is one of the worst female protagonists ever. So little surprise that “And Just Like That” — the latest iteration of “Sex and the City” — is equally terrible.

Before we get to the controversial death of a major character, the extreme woke-ism and rampant materialism on display and the absence of fan favorite Kim Cattrall, let’s acknowledge that “SATC” has never aged well, let alone adapted to changing times.

The death knell should have been the execrable 2010 feature film “Sex and the City 2,” which saw these four ostensibly cosmopolitan women touring Abu Dhabi — the most erudite yodeling “Abu Dhabi doo!,” another flinging condoms around an open-air market in a Muslim-majority country and yelling, “I have sex!” — for no discernible purpose.

The critical and commercial failure of that film put a third film on ice — one that reportedly used the death of Carrie’s great love, Mr. Big, as its main plotline.

The series finale aired in February 2004 on HBO, and New York then is nothing like New York now. But the Manhattan of “AJLT” remains a snow globe, one in which the pandemic is over, the economy has recovered, and the greatest concerns are hearing loss, going gray, and whether to sacrifice an early trip “out East” (code for the Hamptons).

“Sex and the City” has not aged well.
NY Post photo composite

So here we are, a pushing-60 Carrie Bradshaw opening this awkward revival with her insufferable, aren’t-I-adorable tics — the squeals, the hair-tossing, the over-the-top grimaces — gathering with her lifelong best friends for lunch, constantly changing the subject, as ever, back to herself.

Truly, Carrie was always the worst, a narcissist who grew more malignant with each passing season. It’s amazing that SJP can’t see it — she’s always played Carrie as a charismatic, irresistible heroine rather than the soul-sucking friend and mediocre writer she is.

Sarah Jessica Parker and Chris Noth are seen on the film set of the 'And Just Like That' on November 07, 2021
Sarah Jessica Parker and Chris Noth are seen on the film set of “And Just Like That” on November 7, 2021.
Jason Howard/Bauer-Griffin/GC Images

Lest we forget: Carrie bullied her newly divorced best friend into giving her the down payment for her apartment, a down payment she couldn’t afford because she squandered $40,000 on designer shoes; who ignored a tearful, postpartum friend’s agonies to perseverate on a bad book review in the New York Times; who treated the only decent man she ever dated like garbage, accepting his marriage proposal when she had no intention of going through with it, mocking him to his face as a hick, and cheating on him repeatedly with her emotionally unavailable, psychologically abusive ex, Mr. Big.

That the show turned Carrie and Big into the endgame — true-love-conquers-all, even as the first “SATC” movie had Big leaving Carrie at the altar — was its most cynical conceit.

The cringe, after all these years, remains strong. Chris Noth’s Mr. Big dies after a Peloton ride (who at Peloton is green-lighting these horrible promotions?), but not before masturbating in front of Carrie at her command.

Kristin Davis attends HBO Max's "And Just Like That" New York Premiere
Kristin Davis attends HBO Max’s “And Just Like That” New York premiere.
Jamie McCarthy/WireImage

The sophisticated and urbane lawyer Miranda Hobbes acts as though she’s never encountered a black person in her decades of living in Brooklyn and New York City.

And we’re meant to believe a humorless nonbinary character — jackknifed into this milieu — is a stand-up comic, given to hyper-woke campus jargon such as, “What can … a straight cis male personally do to eradicate the harmful patriarchal system of this gender binary compulsive heterosexuality?”

This same character, a self-described “queer non-binary Mexican-Irish diva,” gets Miranda’s teenage son high and smokes in an elevator.

All these people are terrible — well, almost.

Cynthia Nixon
and Sarah Jessica Parker seen on the set of "And Just Like That..."
Cynthia Nixon
and Sarah Jessica Parker seen on the set of “And Just Like That.”
James Devaney/GC Images

The absence of Cattrall’s warm-hearted Samantha is explained away in meta-dialogue that seems to reference Cattrall’s bitterness over her storylines (including a rumored sexual involvement with Miranda’s teenage son) and SJP’s place in the show’s pecking order, with Carrie lamenting unreturned calls and text messages.

Miranda: “You know it’s kind of like she’s dead, Samantha … her pride got damaged.”

Carrie: “I understand that she was upset, but I thought I was more to her than an ATM.”

Cattrall deserves better.

So does the late Willie Garson, who was made to film funeral scenes while terminally ill himself, praising the newly widowed Carrie — who rudely dismisses her compassionate friends — as “our Jackie Kennedy … pulling it together and giving us a look today because she knew people would be expecting it.”

Once upon a time, “SATC” wanted to be about far more than looks. “And Just Like That” only underscores its essential shallowness.

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