Just a week after the last episode of the third season of High Maintenance, the series of HBO that narrates the misadventures of a camel of marijuana in New York and that is one of the greatest successes of the programming of the American chain, its renovation was announced for a new season. If we take into account that the last sentence of one of the scenes that closed the last episode included the very title of the series and that this entire third season has revolved around death and loneliness, it was plausible that this final was the great final. "I love dark shit, I'm the queen of the sad end, I do not have any problem with finishing things like that, although I always like to find a way for that sad end to leave the viewer some hope with life," he declared a few days ago. Katja Blichfeld, creator of the series with her ex-husband Ben Sinclair, to the American magazine Vulture.
High Maintenance was born in 2010 as a series of short clips that were broadcasted by Vimeo. Sinclair and Blichfeld, then husband and wife, were signed by HBO to convert those sketches in chapters and those chapters in an atypical series in which the focus was set on different characters each episode. The protagonist, that camel interpreted by Sinclair himself who distributes marijuana by bicycle in New York, was a figure without a name (El Tío) that served to open the doors of the houses, the individuals and the stories that articulated the dislocated but tremendously attractive nature of the series, halfway between Wes Anderson and Jim Jarmusch, between Paul Auster and David Sedaris. "Suddenly, we had money, I went from cooking breakfast for the team to one day listening to how during the filming a guy who did not know what I was doing there spoke on the walkie talkie informing I do not know who I was leaving the set to smoking, "recalled Sinclair at the end of the second season. The last chapter of that delivery revealed that El Tío had an ex-wife who had left him to go live with another woman. The same thing was going to happen in the relationship between Sinclair and Blichfeld. Nothing was going to be the same anymore. Neither in the series, nor is it their lives.
For that second season, HBO proposed to have a team of writers for the first time. "We insist on signing experienced people but also newbies," explained Sinclair in an interview. "When ideas came to us, we never wanted to know who wrote them, but they taught us things like what the dramatic arc is like." Interestingly, this second season, with Blichfeld and Sinclair at the helm of a real writing team, is the one that most winks at his troubled personal life. The couple broke the night of 2016 when Donald Trump won the election, and an episode this season is located right on that night, which is treated as a kind of zombie apocalypse. In another chapter, one in which Sinclair does not appear in the credits as a scriptwriter, the story of the camel is developed with the woman who left him for another woman, coinciding with an accident that suffers with his bicycle in the act of service and that forces him to outsource your business one season. He leaves it to a client who drives an Uber. "Do you really want customers to go down to the car? If the most fun is to go up to their homes," Sinclair says in the scene that explains the entire series.
"I started to get a little paranoid about people thinking that the series was just mine. We used to go on the subway with Katja, they greeted me and the first thing I did was point to her and explain that the series was done by both of us," she said. Ben a year ago to the magazine Nylon. His character, as the series has advanced, has been gaining prominence. Journalists continue to appear obsessed with the selfies, doctors who are drag queens, elders hooked to raves diurnal or nudists who share a floor with deranged ladies, but the camel has gained weight, especially since the last chapter of the second season, when he flees New York on board an old motorhome. In the recently concluded third season he returns to the city. The caravan breaks down. And it is there, in a ramshackle workshop, where that falsely premonitory penultimate scene happens. "The caravan is a symbol," Blichfeld recently told a shared interview with Sinclair. "It's a junk that represents the most false side of the American dream and that spends a lot on gasoline," he finished. The couple gets along great. In fact, they continue to do the same as when they were married. Except two things: smoking grass and lying down.