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Another reason for making these new episodes is, simply put, to feed the beast.Fans may notice that “Divorce” debuts on a Monday night, rather than the Sunday timeslots reserved for prestigious HBO fare — hell, reserved for almost all HBO originals up until a few years ago.(Horgan is the official creator, but hasn’t had an episodic writing credit since the first season.) The top-level turnover shows, yet again, where it counts: onscreen.As episodes wander from topic to topic, question to question, little answers are provided, and Season 3 feels like an ending from someone who wasn’t that invested in the original premise.Season 1 wasn’t what “Sex and the City” fans expected from Parker, but it was far from a catastrophe. Reviews for Season 2 improved, but only 12 critics bothered to write about it, compared to the 61 who covered Season 1.
It boils down to business, with one reason being a talent play to keep two creative partners happy.
Frances isn’t chucking bricks through Robert’s window, and Robert isn’t parading his new girlfriend in front of his ex-wife.
There’s no backstabbing or, on the flip-side, a rekindled flame.
Tonally, “Divorce” is best described as disinvested.
It’s not lighter, per se, but there’s no sharp tongue.