HBO Max offers hint about what happened to Samantha from Sex and the City

HBO Max offers hint about what happened to Samantha from 'Sex and the City'

"It is very much a story about women in their 50s, and they are dealing with things that people deal with in their 50s.”

Once we learned that "Sex and the City" was coming back without Samantha in a new series on HBO Max, we couldn't help but wonder what had happened to Kim Cattrall's character.

Amid all the fan theories, we now have one more official clue about how the writers plan to explain Cattrall's absence. TVLine spoke with Casey Bloys, the HBO Max chief content officer about the sequel series, "And Just Like That," and he offered a hint about what happened to Samantha.

"They’re not trying to re-do Sex and the City,” Bloys told TVLine. “They’re not trying to say that these characters are reliving their 30s. It is very much a story about women in their 50s, and they are dealing with things that people deal with in their 50s.”

Image: Image: Kristin Davis, Sarah Jessica Parker, Cynthia Nixon and Kim Cattrall on Location for "Sex and the City: The Movie" - September 21, 2007
Kristin Davis, Sarah Jessica Parker, Cynthia Nixon and Kim Cattrall on the set of "Sex In The City: The Movie" in New York City on Sept. 21, 2007.James Devaney / WireImage
He added that “just as in real life, people come into your life, people leave."

“Friendships fade, and new friendships start. So I think it is all very indicative of the real stages, the actual stages of life…" he said. "They’re trying to tell an honest story about being a woman in her 50s in New York. So it should all feel somewhat organic, and the friends that you have when you’re 30, you may not have when you’re 50.”

Image: y99sexcast2_20000530_00477.jpg
The cast of "Sex And The City" in 1999. From the left: Cynthia Nixon, Kristin Davis, Sarah Jessica Parker and Kim Cattrall.Paramount Pictures / Getty Images
After the news broke that Samantha would not be returning to the reprisal of the show, disappointed fans brainstormed several possible outcomes for her character. While one common TV plot move would be to kill her off, that didn't sit well with many fans.

Some Twitter users suggested it would be much better if the sassy character was busy traveling the world, living her best life, while others pointed out Samantha could move back to Los Angeles and check in with her friends when she had time.

"I really don't want or think Samantha should be dead," @jennjaypal wrote. "I hope Samantha is traveling the world and keeps in touch when she can but is just not involved in the every day plotline of these women's current lives."

This week, as news circulated that Samantha and the other "Sex and the City" women had stopped being friends in the show, many people weren't surprised but didn't love the solution.

"Sex and the City's revival will explain Samantha's absence by saying she's simply no longer friends with Carrie, Miranda, and Charlotte according to HBO," Jarett Wieselman posted. "Which, honestly, feels like the worst possible choice."

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The fact that erotic work has been dominated by the male gaze and exploited by the partiarchy doesn’t mean that those working outside it need to avoid it. “I think the only way to address the erasure and oversimplification of [women-loving-women] eroticism is not only more pieces to the puzzle for a more complete picture, but also more puzzles on the shelf,” Gribbon said.
British artist Helen Beard noted that she used to get upset when her work was described as erotic, “or when it was pigeonholed as erotica.” Beard is known for intensely colorful, large-scale paintings based on close-ups of pornographic images, but transformed into something that has a completely different effect.

Beard, who has recently presented solo exhibitions at Reflex Amsterdam and UNIT London, explains that Audre Lorde’s “Uses of the Erotic: The Erotic as Power” was foundational in understanding what the erotic could be. In the 1978 essay, Lorde distinguishes between two often conflated terms: “pornographic” and “erotic.” Lorde wrote, “When I speak of the erotic, I speak of it as an assertion of the life force of women, of that creative energy empowered.” The erotic could be characterized differently—as a vital life force, unstoppable, spiritual.
“Like a lot of women artists today, I think we should take back ownership of the word ‘erotic,’” Beard said. “It is not contemptible to make work about female desire, or speak of the joy of sharing a deep physical and emotional bond with another person. It should be celebrated, and I hope my paintings do that.”

Sex, sexuality, and the erotic, in the right hands, can become liberating, all-encompassing; beautiful on a higher plane. For Tiffany Alfonseca, a rising young artist based in the Bronx, it is “extremely important” to depict different desires, erotic gestures, and intimacy. “The way I see it, sexual inclusion and intimacy go hand in hand through the works that I create,” she said.
Alfonseca, who is showing new work with Gallery 1957 this year, focuses on the real lives of people living in her community, as she sees them. She creates striking images that resonate on a fundamental human level, whether it’s a shared kiss or a couple canoodling, eyes closed, serene, together in bed. There is nothing sensationalized about her depictions, but that doesn’t take away from their inherent eroticism, and she uses an attention-grabbing palette of punchy pinks, purples, and reds, reminiscent of romance.

“The dynamic of my work focuses on normalizing the Black body when one is expressing their sexuality or sharing intimate moments with a loved one regardless of their sexuality,” Alfonseca said. “For far too long, the Black body has been fetishized when it comes to sexuality and intimacy throughout art and culture. My goal is to change that through my practice.”
For other young artists, sexual encounters in art are now often informed by interactions with screens and apps; selfie culture influences body image, which in turn directs desire. In Christopher Hartmann’s Big Butt (Don’t look at me) (2020)—a larger-than-life painting of a bright pink bottom on display to arouse desire—the effect is the opposite. The feeling of breached privacy, of false intimacy, inverts the intended erotic frisson of screen-based sex, showing it as something detached, or as Hartmann puts it, “cold romance.”

In fact, the avatar-like figures in Hartmann’s portraits rarely display any mutual attraction or affection; they seem to float in space, devoid of desire—in the artist’s words, “a dysfunctional romance between alienated figures.”
“I always depict the figures in my paintings in relationship to others,” Hartmann explained. Even when there is only one figure in painting, he noted that “you can sense the absence of the ‘other,’” as the subject gazes or points towards it beyond the frame. “I am particularly interested in the ambiguity of these relationships, the tension that oscillates between romance and rejection,” he added.

The loneliness of love and searching for sex in the 21st century also permeates the work of James Bartolacci, who is opening a show with Taymour Grahne Projects in London this spring. In nightclub scenes based on his own experiences partying in New York, the erotic takes on a “covert role” for the artist. Bartolacci sees the erotic impulse as “a catalyst for connection—whether it’s figures gathering on a dance floor or yearning for a lover,” he said. In one new work, Bartolacci hones in on that familiar thrill of when a hand—perhaps a stranger’s—meets another’s shoulder. It’s a simple gesture that means so much.
Bartolacci also reminds us that the act of making something with your hands is in itself pretty sensual, and that gazing at others’ bodies is a form of voyeurism. “I see the erotic in the lushness of my color palette,” Bartolacci said. “My colors are bold and saturated, like the laser lights found in nightclubs.…I’ve always found these intense colors to be highly evocative and transformative, signaling that you are entering a space removed from the everyday. And, much like those laser lights, I want the colors to lure the viewer into the work.”

The half-Thai, half-Polish, London-based painter known by the sobriquet Oh de Laval certainly understands this, too. She creates chromatic tableaux that are erotic and bizarre, with trenchant humor. Her paintings hit on what makes sex such a perenially fascinating topic, beyond time and space, connecting us to another state of consciousness.
“The eroticism in my paintings is as much about sexual desire as lust, wrath, violence, despair, and happiness,” Oh de Laval explained. “These emotions each play an expressive role in that precise moment when we are caught between the civilized person we have grown to become and that wild part of our nature that we forget we are. It’s no longer our nature to behave wild in our civilized world because technology has made it all too easy to tame.

“Yet we still remain angry, hungry, and horny, but if we can’t get our fix immediately, we expose our wildness,” she continued. “My paintings take you to the place where there are no consequences, only moments of wildness.”
Artists exploring sex and the erotic now are radically shifting the discourse away from age-old interpretations, and towards something that reflects more of the full gamut of sexual experience. But ultimately, they might be searching, like artists in the past, for a place where we discover our most unshackled, primitive, and carnal selves; where we might truly be free.

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