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And Just Like That's Big Season 3 Question: Should Carrie Wait Around for Aidan?

And Just Like That's Big Season 3 Question: Should Carrie Wait Around for Aidan?

Yahoo30-04-2025

Just like the original Sex and the City, Max's sequel series And Just Like That… is all about romance — but I can't help but wonder if Carrie is making a mistake in her love life.
Let's back up: In Season 2, Carrie reunited with her former fiancé Aidan, played by John Corbett, and they discovered the spark was still there between them. Carrie's husband Big had died, and Aidan was divorced, so it seemed like the stars were aligning for them to get a second chance at love together. They even picked out a new apartment together, but when Aidan's sons started having problems back home in Virginia, Aidan decided to move back there to take care of them. He didn't break up with Carrie, though. He asked her to give him some time — about five years, until his sons are grown up.
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Huh? So Carrie is supposed to sit around in a quiet room with her hands folded until Aidan decides to come back to New York to be with her? This is Carrie Freaking Bradshaw, people. She waits for no one! In Aidan's mind, they've already waited 20 years to get back together, so what's five more? But for people who must be nearing age 60 by now, five years is a substantial chunk of the time they've got left in this world. And as we saw with Big, lives can end in an instant, so there's no guarantee they'll both be around in five years for a happy reunion. It seems like wishful thinking that they can just press pause on their romance for half a decade and then pick up right where they left off.
In the trailer for Season 3 (premiering May 29), Carrie and Aidan are exchanging blank postcards as a way to stay connected, and we see he pays a visit to her new apartment. But we also see Carrie connecting with a handsome new neighbor who calls her 'vibrant.' (Hmmm!) So will her bond with Aidan be able to survive these five years of long distance? I don't see it — but maybe the new competition will spur Aidan to move back sooner than expected. After all, she can't wait around forever.
We want to know what you think: Should Carrie wait around for Aidan? Cast your vote in our poll below, and let us know your feelings heading into Season 3 in a comment below.
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A 'Home Improvement' Clip Is Going Viral For Exposing Just How Backwards We Have Gone As A Society
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A 'Home Improvement' Clip Is Going Viral For Exposing Just How Backwards We Have Gone As A Society

JIM WATSON / AFP via Getty Images ABC Photo Archives / Disney General Entertainment Content via Getty Images For reference, "Home Improvement" followed the life of DIY TV show host Tim Taylor, played by Tim Allen, his wife, Jill, and their three sons. It originally aired on ABC between 1991 and 1999. ABC via Disney+ 'I don't need Angela to make me a sandwich,' Tim tells Brad, who insists: 'She doesn't mind,' which Angela echoes. Tim reiterates: 'I don't need you to make me a sandwich, thanks. ABC via Disney+ ABC via Disney+ ABC via Disney+ ABC via Disney+ When Tim says that he does, Brad asks: 'And you think that's good?' and Tim reasons: 'Well, I don't know, it works for me… But maybe having Angela as your sandwich girl works for you, your whole life is sandwiches!' ABC via Disney+ Since being posted to TikTok, this clip has been liked almost 200k times, and racked up thousands of comments — with many of them saying the same thing. 'this would be called woke today,' a popular comment reads. Somebody else echoed: 'They tried to do a story like this these days MAGA would call it 'woke' and call for a boycott of everyone involved.' 'Funny how back then the audience would have perceived the dad as a 'good man', whereas now the same audience would call him 'woke/soft/leftist,'' another user added. 'now you would have 300 guys complaining it's woke,' one more agreed, while somebody else observed: 'It's almost like 'wokeness' that people keep referring to has always been there, it just wasn't wrapped up in inflated egos fueled by political rhetoric.' And one more concluded: 'I got so many of my lessons in being a man from 90s sitcoms. Just human lessons, not activists lessons.'

Money Is Ruining Television
Money Is Ruining Television

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Money Is Ruining Television

The Atlantic Daily, a newsletter that guides you through the biggest stories of the day, helps you discover new ideas, and recommends the best in culture. Sign up for it here. Watching Carrie Bradshaw—erstwhile sex columnist, intrepid singleton, striver—float down the majestic staircase of her new Gramercy townhouse on a recent episode of And Just Like That while wearing a transparent tulle gown, on an errand to mail a letter, is one of the most cognitively dissonant television experiences I've had recently. And Just Like That has never been a particularly imaginative show with regard to women in midlife, but there's still something fundamentally off about seeing one of the canonical female characters of our era transformed into a Gilded Age archetype, worrying about a garden renovation and choosing back-ordered fabric for a chaise. Carrie, suddenly, has many hats. She communicates with a lover via handwritten notes while she waits for his liberation from the home front in Virginia. 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On Sirens and The Better Sister, glossy scenes of sleek couture and property porn upstage the intrigue of the plot. On Mountainhead, tech billionaires tussle in a Utah mountain retreat featuring 21,000 square feet of customized bowling alleys and basketball courts. On Your Friends & Neighbors, a disgraced hedge-fund manager sneers at the vacuous wealth of his gated community (where houses cost seven to eight figures), but also goes to criminal lengths to maintain his own living standards rather than lower them by even a smidge. And on With Love, Meghan, the humble cooking show has gotten a Montecito-money glow-up. 'I miss TV without rich people,' the writer Emily J. Smith noted last month on Substack, observing that even supposedly normie shows such as Tina Fey's marital comedy The Four Seasons and Erin Foster's unconventional rom-com Nobody Wants This seem to be playing out in worlds where money is just not an issue for anyone. This is a new development: As Smith points out, sitcoms including Roseanne and Married … With Children have historically featured families with recognizable financial constraints, and the more recent dramedies of the 2010s were riddled with economic anxiety. Reality television, it's worth noting, has been fixated on the lifestyles of the rich and bored virtually since its inception, but as its biggest stars have grown their own fortunes exponentially, the genre has mostly stopped documenting anything other than wealth, which it fetishizes via the gaudy enclaves and private jets of Selling Sunset and Bling Empire. Serialized shows, too, no longer seem interested in considering the stakes and subtleties of most people's lives. Television is preoccupied with literary adaptations about troubled rich white women, barbed satires about absurdly wealthy people on vacation, thrillers about billionaire enclaves at the end of the world. Even our contemporary workplace series (Severance, Shrinking) play out in fictional realms where people work not for the humble paychecks that sustain their lives, but to escape the grief that might otherwise consume them. What does it mean that our predominant fictional landscapes are all so undeniably 'elevated,' to use a word cribbed from the Duchess of Sussex? And Just Like That is evidence of how hard it is for shows that take wealth for granted to have narrative stakes, and how stultifying they become as a result. But we also lose something vital when we no longer see 99 percent of American lives reflected on the small screen. Money isn't just making TV boring. It's also reshaping our collective psyche—building a shared sense of wealth as the only marker of a significant life, and rich people as the only people worthy of our gaze. We're not supposed to be able to empathize with the characters on-screen, these strutting zoo animals in $1,200 shoes and $30,000-a-night villas. But we're not being encouraged to empathize with any other kinds of characters, either—to see the full humanity and complexity of so many average people whose lives feel ever more precarious in this moment, and ever more in need of our awareness. On an episode in the final season of Sex and the City, a socialite named Lexi Featherston cracks a floor-to-ceiling window, lights a cigarette, and declares that New York is over, O-V-E-R. 'When did everybody stop smoking?' she sneers. 'When did everybody pair off?' As the hostess glares at her, she continues: 'No one's fun anymore. Whatever happened to fun? God, I'm so bored I could die.' Famous last words: Lexi, of course, promptly trips on her stiletto, falls out the absurdly dangerous glass panel, and plummets to her death. Her arc—from exalted '80s It Girl to coked-up aging party girl—was supposed to represent finality, the termination of the city's relevance as a cultural nexus. 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The women on the first season of Real Housewives were well off, but not unimaginably so. They lived in high-end family homes, not sprawling temples of megawealth. Similarly, when Keeping Up With the Kardashians debuted in 2007, the family lived in a generous but chintzy bungalow, having not yet generated the billions of dollars that would later pay for their minimalist compounds in Calabasas and Hidden Hills. During the 2008 financial crisis, a critic for The New York Times wondered whether the tanking global economy might doom the prospects of shows such as The Real Housewives of Atlanta, which had just premiered, and turn them into 'a time capsule of the Bling Decade.' But the fragility of viewers' own finances, oddly, seemed to make them more eager to watch. Shows about money gratified both people's escapist impulses and the desire to critique those who didn't seem worthy of their blessings. 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You could argue that And Just Like That is honoring the spirit of Sex and the City by putting fashion front and center. But the vacant dullness of the new season feels wholly of its time: This is television for the skin-deep influencer age, not the messy, pioneering drama it once was. More crucially, Carrie and company take up space that deprives us of more shows like The Pitt, one of a sparse handful of series documenting the workers trying to patch up the holes in an ever more unequal America. No one seems to have anticipated that the Max series would be such a success. As workers today are being squeezed 'for all their worth, no more chit-chatting at the water cooler, we've gotten to a point where reality for most people is quite unpleasant,' Smith writes on Substack. 'And executives are betting that we don't actually want to watch it.' 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LIVE! UFC 316 Results, Streaming ‘Prelims' Updates

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