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“I have to go do a podcast,” Carrie (Sarah Jessica Parker) tells friends Miranda (Cynthia Nixon) and Charlotte (Kristin Davis). For the first 35 minutes of the 44-minute premiere, it’s an uncomfortable ride as writer/director Michael Patrick King reorients the characters in a post-covid, politically progressive NYC in a bid for 2021 relevancy.
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“Ken Park” is evidence of that.There’s a simple question to ask yourself when weighing whether or not to check out the new “Sex and the City” sequel series: Are you comfortable with change? Or would you rather remember characters and a TV show as they were?īilled as “a new chapter of ‘Sex and the City,” “And Just Like That…” takes the situations and characters from the 1998-2004 HBO hit (and its two sequel movies) and plows forward. As an audience, we expect far more cultural sophistication than our capacity for balanced interpretation. We are such a rapidly changing audience with a huge appetite for challenge, yet we don’t necessarily absorb the changes we witness. The final scene with the three main characters together struck me as very bittersweet since it plays more as a fantasy than a likely scenario.Īrt enjoys such a complex, troubled relationship with the American public.
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The tragedy plays out that they are all compromised by clueless or pathological parent figures and the sexuality reflects a history of thwarted attachment. They have access to rare delight and comfort with sex and, weirdly enough, a sense of peace. In fact, the bland dialogue and delivery explains why sex holds such a powerful lure for these kids. The characters feel very real in their banality there is real pathos. Personally, I think that the Clark and Lachman have made a great film its a moral and compassionate statement.
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Free speech is one thing defending accusations of spreading pedophilia is quite another, and few companies can afford that kind of publicity. Also, the extreme youthful appearance some of the characters in the film will cause some companies to avoid distribution risks. We may demand more pressure on the envelope as a viewing public, but the cumulative effect of pushing the envelope is still in the realm of speculative sociolology.
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This asks of the average cinema viewer much more sexual maturity than most films ever hope to ask. “Ken Park” demands that the viewer suspend that response, look beyond any arousal or outrage generated from the explicit sexuality and focus on the relationships in the film (of which sex is merely the expression). We are all sexual (mostly) and (most of us) respond to visual stimuli. Unfortunately that’s also the problem with “Ken Park”.Īn average viewer can’t witness explicit sexual behavior and be unaffected by it. What separates it from pornography is that “Ken Park”‘s intent is not to arouse but to provoke an emotional response by placing these same powerful ingredients within a troublesome relational context. Its not pornography, but it will be confused with it easily since it contains many of the same powerful ingredients: nudity and explicit sexual behavior. This bizarre dichotomy underscores their alienation # the result of suburban ennui, a teenager’s inherent sense of melodrama, and the disturbing nature of their home environments.Īnyone who finds pornography disturbing will find “Ken Park” disturbing for both the wrong and the right reasons. But they spend precious little time together and none of them seems to know much about one another’s family lives. They’re all rather tight, or so they claim. Peaches looks after her devoutly religious father, but yearns for freedom. Tate is brimming with psychotic rage Claude is habitually harassed by his brutish father and coddled, rather uncomfortably, by his enormously pregnant mother. Ken Park focuses on several teenagers and their tormented home lives.