In a recent interview, Michael Patrick King, the co-creator of the HBO series And Just Like That…, expressed optimism about the show's long-term legacy, suggesting it could 'potentially age well' despite mixed initial reception. Speaking to The Guardian, King drew parallels between his revival of the iconic Sex and the City franchise and his earlier project The Comeback, which he co-created with Lisa Kudrow. The series, which premiered on HBO Max in 2021 and wrapped up its three-season run in 2025, reunited much of the original cast as they navigated life in their 50s.
King's comments come as the final season of The Comeback airs on HBO, highlighting his track record with projects that challenge audience expectations. 'If The Comeback has taught me anything, it’s that perceptions can change over the years,' King told The Guardian. He noted that The Comeback's initial perception was one of failure, but it later gained relevance as cultural attitudes evolved. For And Just Like That…, King sees a similar trajectory, rooted in the same 'DNA' as the original Sex and the City, which confronted societal norms for women in their 30s.
The revival series shifted focus to characters in their mid-50s, addressing contemporary pressures such as judgments on fashion choices for older women. 'In And Just Like That, society was telling 55-year-old women they shouldn’t be wearing tulle,' King explained. 'I’ve always tried to be excited about writing the individual vs. society.' This theme, he argued, positions the show to resonate more deeply with future audiences, much like how Sex and the City did in the late 1990s and early 2000s.
“I’m interested in how characters change. The surprise for me was discovering that fans don’t want their characters to change – they want to see them frozen in the time they fell in love with them. That’s a particular dilemma if you’re trying to move things forward,” King said.
Sarah Jessica Parker reprised her role as Carrie Bradshaw, alongside Kristin Davis as Charlotte York and Cynthia Nixon as Miranda Hobbes, with the ensemble tackling romantic, personal, and societal challenges in modern New York City. The show also introduced new characters and plotlines, including diverse relationships and evolving identities, which sparked both praise and criticism. While a significant portion of viewers reportedly enjoyed 'hate-watching' the series, overall reception from critics and longtime fans was largely negative, with many decrying changes to beloved characters.
King addressed this backlash directly, acknowledging the risk of alienating fans by evolving the narrative. 'If there was a great disaster, it would have been if And Just Like That… tried to be Sex and the City. It’s much better to come back, break it and be a new show, even though you’re going to get hit with, ‘We like the other show better.’ Well, OK — it’s still there,' he remarked. This approach, he suggested, allowed the series to carve out its own identity rather than mimicking the original's lighter, more glamorous tone.
The original Sex and the City aired on HBO from 1998 to 2004, becoming a cultural phenomenon that explored friendship, love, and career ambitions among four women in Manhattan. Its two feature films in 2008 and 2010 extended the story, but the 2021 revival marked a bold attempt to update the franchise for a new era. And Just Like That… debuted amid high expectations, streaming exclusively on HBO Max, now rebranded as Max, and quickly became a topic of online debate.
Throughout its run, the series faced scrutiny for plot decisions, including the handling of character arcs and representation. Fans expressed frustration over perceived departures from the originals' personalities, with some online commentators arguing that changes felt 'completely foreign to the original character’s DNA.' One reader comment on Deadline Hollywood echoed this sentiment: 'This shows why he never understood why people were upset about the show. It wasn’t because the character grew and changed. It’s because they were changed into people that were completely foreign to the original character’s DNA.'
King, however, maintained that growth was essential to the storytelling. In the interview, he emphasized his interest in character development over stasis, a philosophy that has defined much of his work. The third season of The Comeback, which premiered earlier this year, similarly explores meta-themes like AI in television production, as discussed by producer Dan Bucatinsky in a separate Deadline interview. Bucatinsky, who has collaborated with Kudrow for 25 years, described the season's 'agenda-less' AI plot and teased potential crossovers with shows like Hacks.
Despite the criticism, And Just Like That… drew substantial viewership, contributing to HBO's streaming success during its tenure. The series concluded in 2025, leaving open the possibility of future installments, though no official announcements have been made. King's reflections suggest he views the show's polarizing nature as a strength, potentially fostering a cult following akin to The Comeback, which ran for three seasons between 2005 and 2014 before its recent revival.
Industry observers note that revivals often face uphill battles in recapturing original magic, especially with decades-long gaps. Sex and the City itself evolved from a groundbreaking HBO series to a syndication staple, influencing fashion, language, and attitudes toward single women. And Just Like That…, by contrast, grappled with post-#MeToo sensitivities, aging, and inclusivity, themes that some critics argued were mishandled but others saw as timely updates.
Looking ahead, King's comments hint at a patient approach to legacy-building. As he promotes The Comeback's new season, which addresses the absence of actor Robert Michael Morris following his death, the conversation around character evolution continues. Morris, who played Mickey on the show, passed away in 2023, prompting the writers to navigate his character's exit sensitively in season three.
The entertainment landscape in 2026 remains competitive, with sequels and reboots dominating box office and streaming charts. For instance, a new Spaceballs sequel featuring Mel Brooks, Josh Gad, and Rick Moranis is slated for release, while Amazon MGM Studios has restructured its worldbuilding team for genre series. Meanwhile, Hacks stars Paul W. Downs and Megan Stalter recently discussed future arcs for their characters Jimmy and Kayla in interviews, underscoring the ongoing vitality of character-driven comedy.
Ultimately, King's vision for And Just Like That… underscores a broader tension in serialized television: balancing nostalgia with innovation. Whether the series achieves the cult status he predicts remains to be seen, but its willingness to provoke discussion ensures it won't fade quietly. As streaming platforms evolve, shows like this may indeed find new audiences who appreciate their unflinching look at women's lives across generations.
For fans still processing the revival's end, King's words offer reassurance that time could soften initial judgments. With The Comeback proving that second chances can pay off, the future of Sex and the City's extended universe hangs in intriguing balance, potentially inviting more stories from Carrie, Charlotte, and Miranda in years to come.