Re-booting a classic is not easy, And Just Like That has caught a lot of flack for taking the beloved characters from Sex and the City and giving audiences a glimpse into a less than picture-perfect look at sex, love and aging. But, when a show can single-handedly have an effect on Peloton stock, you know they are also doing something right. Here’s a look at some of what’s working and working really well on the current reboot of our favorite girls. Spoilers ahead!

1. No Samantha, but dynamic new supporting characters.  Imagining Sex and the City without Samantha must have been just as heartbreaking for the writers as it was for the fans. There are moments throughout this season when the characters also deeply miss her (perfect flowers from Samantha at Big’s funeral maybe hit me hardest) but there are excellent new characters not to be overlooked, either. Sarita Choudhury as Seema Patel is a standout. She pulls no punches with Carrie, calling her out for freaking over things that are just that: things, even when they belonged to someone who is now gone. Patel also makes no apologies for what she wants out of life and provides Carrie with tough love that is different than the love from Miranda or Charlotte. Then there’s Karen Pittman as Dr. Nya Wallace who probably cuts Miranda a little too much slack, but whose struggles of trying to have it all feels very real. 

2. Che.  There’s no doubt Che Diaz (played by Sara Ramirez) is somewhat problematic. The show has been called out for queerbaiting and going so woke it is unclear if they understand the definition of the word. And then there’s the gaffe of calling a stand-up show a comedy concert, BUT, people in real life are also problematic, and overall Che feels like progress. No one could have predicted Steve-loving Miranda would find her queer self with some very hot gender non-binary love scenes in her fifties, and that’s rare for a fairly mainstream show. It feels important, fresh, and actually back to the roots of the original. Here’s a character finding herself through her sexuality and deciding to be totally unapologetic about what she wants. And thank goodness for that. 

3. Carrie.  Carrie is going through growing pains that she always resisted. If you were upset when Carrie married Big, then this is the season to give you an older Carrie you always wanted. Carrie was always too good for Big, and now that she’s realizing just that, audiences will get an older Carrie they’ve yearned for — one who has to date again. And that’s where the heart of this show lies: The drama, the excitement, the pain, and the pleasure of seeking love. And to say there are opportunities to see the beating heart of dating drama with women eligible for their AARP cards is rare, is an understatement.

4. Not afraid to go there.  And Just Like That delivers some truly awkward, bordering on cringe comedy, and it is admirable. Comedy should be risky, and this show is constantly walking that line, and you don’t hit occasional home runs without some misses. How do you explain the concept of a blow job to your teen daughter? How do you bounce back from letting your best friend sit in urine-soaked sheets while you were hooking up with her boss in her kitchen? How do you befriend your very young, cool neighbor after you yelled at her for being too loud on the front stoop? Not many shows could handle these scenarios in a buyable way, but this one does and it makes for great TV.

5. Fabulous at 50-something.  This is a show that did take a lot of the season to hit its stride. It embraces that 50 is not always fabulous. Health may fail you. People from the show died in real life. RIP Stanford. And Carrie had to take time to deal with her grief over Big. BUT, in the end, Carrie cannot stay away from aiming for the best — her best book yet, her best apartment yet (even if that means coming home), and hopefully fighting for her best love yet.

Final Takeaway: It takes any good show a bit to find its footing, and sadly, not every show gets that full chance. But it feels we owe old friends a shot at finding the way to tell a bold comedy with a different and new and often unfamiliar trajectory, and isn’t that what we do every day in life, regardless of age?