The reviews are starting to come in for the new season of Emily In Paris on Netflix, and they are not all that positive.
Lily Collins returns as the title character – Emily Cooper – a young American woman from the Midwest who uproots her life and takes a new job in Paris.
With Season 4 debuting on Thursday – and the L.A. premiere happening on Wednesday – the reviews are starting to file in, many of which are not positive.
The show returns after a two-year hiatus, though that wait wasn’t seemingly long enough for some critics, who savagely bashed the show.
A review from Leila Latif of The Guardian was perhaps the most brutal, calling the show a ‘televisual black hole’ that is, ‘devoid of plot, charisma and intrigue.’
The reviews are starting to come in for the new season of Emily In Paris on Netflix , and they are not all that positive.
Lily Collins returns as the title character – Emily Cooper – a young American woman from the Midwest who uproots her life and takes a new job in Paris.
The critic revealed she had viewed the first half of Season 4 – which debut on August 15 – with the second five-episode half dropping on September 12.
She insists that, ‘nothing happens,’ as the title character continues working as a marketing executive while getting involved in a love triangle with her co-worker Luc (Bruno Gouery) and roommate Mindy (Ashley Park).
The reviewer insists there is, ‘absolutely nothing at stake’ when it comes to the love triangle, with the ‘drama’ in the show coming from her professional life, though that appears to be a stretch too.
‘In every episode, she has to use her talent and sunny disposition to ensure social media strategies are executed with aplomb. To say that this is as thrilling as watching paint dry would be a disservice to the many excellent shades of paint,’ she says.
The critic adds there are several subplots involving, ‘missing people, #MeToo and Michelin stars,’ though they ultimately, ‘go nowhere.’
Another review from the Irish Independent was equally savage, calling this show’s version of Paris, ‘a theme park version of the City of Light.’
He touches on the show’s running gag that Emily does not speak French and even after four seasons makes no effort to learn the language, and yet everyone in Paris seems to love her, which would likely not be the case in the real Paris.
‘If this were the real Paris rather than a theme park version, Emily would get on everyone’s nerves. Instead, they all find her cute and adorable. Irresistible, too. Men fall at her feet on every street corner,’ critic Pat Stacey says.
The critic revealed she had viewed the first half of Season 4 – which debut on August 15 – with the second five-episode half dropping on September 12
She insists that, ‘nothing happens,’ as the title character continues working as a marketing executive while getting involved in a love triangle with her co-worker Luc (Bruno Gouery) and roommate Mindy (Ashley Park)
The reviewer insists there is, ‘absolutely nothing at stake’ when it comes to the love triangle, with the ‘drama’ in the show coming from her professional life, though that appears to be a stretch too
Another point of contention in this review is how the show ignores the city’s racial and cultural diversity, adding, ‘this fantasy Paris is as whitewashed as Richard Curtis’s Notting Hill.’
However, another piece from The Guardian’s Joel Golby – while admitting the show is ‘terrible’ – thinks the time has come to ‘drop the beef’ with the show.
‘The point of Emily in Paris is that it isn’t for me – it’s not even particularly for people who are sitting upright – and once you see through all of that, you can: well, “enjoy” is not the right word, exactly. But you can at least appreciate Emily in Paris for what it is, which is: an unashamedly silly, soapy, Technicolor whirlwind of nonsense,’ he said.
‘It’s a make-work programme for beautiful people who can’t act and a show where, 30 episodes in and with 10 more pending, nothing significant has actually happened,’ he adds, though he realizes he’s ‘re-igniting’ his ‘beef’ after reflecting more, concluding, ‘It is beneath every single person who has ever watched it.’