Grace’s Manhattan in ‘The Undoing’ “The rich are different,” said Fitzgerald, in a languishing dreamy tone. “Yes,” replied Hemingway brusquely, “they have more money.” It is difficult not to recall this exchange when watching HBO and Sky Atlantic’s David E. Kelly mini-series The Undoing, which in this year of an ever more rapid COVID-induced transfer of wealth from the lowest to the highest income brackets, thinks it is giving us, in the guise of a murder mystery, a female emancipation series when in fact it is simply glorifying and asking us to adore the wealthy. The series illustrates not the triumph of the MeToo movement but the nightmare of what it always threatened to become: emancipation for rich white women, here in the form of Nicole Kidman’s determined stride in a green greatcoat along the avenues of Manhattan’s Upper East Side. Along with that comes its converse, continued eroticizing and exoticizing of minority and working-class women in the form of the murdered Latina wife and mother who dared to mix with the rich, women who are the victims of both the wealthy patriarchy and matriarchy.