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Earlier this week we profiled the curious factors that inspire our attraction to famous fictional New York Men, and now we’re doing the same for the ladies. Hopefully, the process draws out not only the best culture of our city – worthy of an Ohlala date night – but also reminds us of the great legacy of romance and character that New Yorkers truly do admire in each other.

TELEVISION

Carrie Bradshaw: Sex and the City

That pint-sized, whimsical blonde strutting down the street seems to be the only person that gets heads turning even in such an eclectic place as the Upper East Side. Amongst her group of powerhouse friends, Carrie’s love life grabs the audience’s attention because of that same combination of open-mindedness and vulnerability that makes her an interesting writer. Despite her romantic twists and turns through awkwardness, and infidelity, Carrie seems to always have that sixth sense of knowing who that ‘one’ is for her. Her ability to emerge through the confusion of romance in New York and convince us that there might just be a happily ever after is her most enticing quality. Bradshaw would give Ohlala a shot for the experience and get a better taste of what’s out there.

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LITERATURE

Holly Golightly: Breakfast at Tiffany’s

At first glance, people might think that Holly’s economic dependence on others is in the hopes of keeping up her glamorous appearance and over-the-top social lifestyle. Yet, by the end of Truman Capote’s tale we learn that she’s grown up without support and has used what charm and opportunities she could to keep the hope of a better life alive. Though she entertains the idea of many romantic interests, through her interaction with the narrator we know that she does believe in sincere affection, but simply is willing to make profound sacrifices. The paradox of this situation is what draws attention to Holly Golightly’s ultimate inner strength and independence. In the end we’re left wondering if, had she used Ohlala, we would have seen Holly owning and empowered by her lifestyle.

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FILM

Margot Tenenbaum: The Royal Tenenbaums

True to Wes Anderson‘s directorial form, our expectation and the reality of this elite New Yorker, do not match up. Sure her adoptive family is at first well off, but Margot never fully embraces the pleasures that this could allow her. Instead she has her own brand of non-conformism, separate from all of her eclectic siblings that is. The strange combination of her thick black eyeli

ner and school-girlish hair style are suited to her overly timid and secretive personality. Though in the end she is able to overcome her inhibitions in the name of helping out someone she feels deeply for, and for this we grow an affection for her.  If this jaded Tenenbaum knew about Ohlala, she’d be sure to try it out in the name of rebellion and independence.

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THEATER

Maria: West Side Story

For being a young recently arrived New Yorker, Maria has a surprisingly sense of adventure and  boldness. She ends up being committed enough to pursue a romance, that she stays strong despite facing gang rivalries, stereotypes and family pressures. One step away from Shakespeare‘s Juliet, Maria is also on a journey of self discovery which helps to support the idea of her being informed about her dramatic decisions. In spite of  tragic events we never seem to blame her, and our romantic self cannot help but wish her the best.

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