Do you agree with Ingeborg Majer O’Sickey’s claim that, in the final episode, Lo

Do you agree with Ingeborg Majer O’Sickey’s claim that, in the final episode, Lola has become “a deflated heroine” (131) as the movie “deliver[s] the couple into a happy ending in the tradition of classical Hollywood cinema’s economy of desire” (130)? If yes, why is that so? If no, what counter-argument could be presented? What type of female heroine is Lola in this and in the other episodes? How is she portrayed? Give specific examples from the film that support your argument.