The reviews for the new season of Emily In Paris on Netflix are starting to come in, and to say that not all of them are positive would be an understatement.
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 Thursday and the Los Angeles premiere on Wednesday, the reviews are starting to roll in, many of which are not positive.
The show is returning after a two-year hiatus, though that wait apparently wasn’t long enough for some critics, who savaged the show.
A review by Leila Latif of The Guardian He was perhaps the most brutal, calling the show a “television black hole” – that is, “devoid of plot, charisma and intrigue.”
Reviews are starting to come in for the new season of Emily In Paris on Netflix, and they’re not all 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 that she had seen the first half of season 4, which premieres on August 15, and that the second half of five episodes will premiere on September 12.
She insists that “nothing is happening,” as the main character continues to work as a marketing executive while becoming involved in a love triangle with his co-worker Luc (Bruno Gouery) and his roommate Mindy (Ashley Park).
The critic insists that there is “absolutely nothing at stake” when it comes to the love triangle, and that the “drama” of the series comes from her professional life, although that also seems exaggerated.
“In each episode, she has to use her talent and cheerful disposition to ensure social media strategies are executed with aplomb. To say this is as exciting as watching paint dry would be disrespectful to the many great shades of paint out there,” she says.
The critic adds that there are several subplots involving “missing people, #MeToo and Michelin stars” although they ultimately “lead nowhere.”
Another review of the Irish Independent He was equally savage, calling the show’s version of Paris “a theme park version of the City of Light.”
Reference is made to the show’s running joke that Emily doesn’t speak French and even after four seasons makes no effort to learn the language, and yet everyone in Paris seems to love her, which probably wouldn’t be the case in the real Paris.
“If this were real Paris instead of a theme park version, Emily would be getting on everyone’s nerves. Instead, everyone finds her cute and adorable. Irresistible, too. Men fall at her feet at every turn,” says critic Pat Stacey.
The critic revealed that she had watched the first half of season 4, which debuted on August 15, and that the second half of five episodes will be released on September 12.
She insists that “nothing is happening,” as the main character continues to work as a marketing executive while becoming involved in a love triangle with his co-worker Luc (Bruno Gouery) and his roommate Mindy (Ashley Park).
The critic insists that there is “absolutely nothing at stake” when it comes to the love triangle, and that the show’s “drama” comes from her professional life, though that seems to be a bit of a stretch.
Another point of contention in this review is how the show ignores the city’s racial and cultural diversity, adding that “this fantasy Paris is as whitewashed as Richard Curtis’s Notting Hill.”
However, another piece of The GuardianJoel Golby, while admitting that the show is “terrible,” believes it is time to “put aside the problems” with the show.
“The point of Emily in Paris is that it’s not for me, it’s not even particularly for people who sit up straight, and once you see all that, you can – well, ‘enjoy’ isn’t exactly the right word. But at least you can appreciate Emily in Paris for what it is, which is: a whirlwind of unabashedly silly, soap-operatic, Technicolor nonsense,” he said.
“It’s a work show for beautiful people who can’t act and a show where, after 30 episodes and with 10 more to go, nothing significant has really happened,” he adds, though he realizes he’s “rekindling” his “enemy” upon further reflection, concluding, “It’s beneath every single person who’s ever seen it.”
Meanwhile, Jay Snow of Paste Magazine claimed that the new series “still has nothing new to say.”
Sinking their claws into Emily and Gabriel’s romance scenes, they wrote: ‘They can drag out Emily and Gabriel’s romance as long as they want, but, so far, it’s done nothing but hinder the story and character growth.
“Unless there’s a major change after this season, it might be time to say ‘au revoir’ to Emily and company.”
Fans of the new series praised its “self-awareness, dazzling and adorableness” in their reviews.
The show continues to inspire audiences with lead actress Emily’s achingly stylish ensembles.
However, other critics were more favorable to the later episodes and heaped praise on them.
At The Daily Beast, Emma Stefansky called season four “absurdly and endearingly idiotic.”
“It’s as entertaining as anything else the show has ever done,” he said of the new storylines.
“I don’t claim to know anything about fashion, and I certainly won’t learn anything from this particular show, but it’s always fun to see the costume department going all out on something like this while other shows dress their cast in a sea of crewnecks and black pants.”
Collider’s Emily Cappello called the show’s return “stunning and self-aware… a fashionable stroll through the streets of Paris.”
She noted that in season four, Emily finally “explored her need for control and embraced her vulnerability.”
She also praised the new episodes for letting Sylvie shine, saying more space and weight was given to her “realistic and thought-provoking internal conflicts.”
Meanwhile, The Times’s Robert Crampton enthused: “When the script is as good as this, you can’t dismiss Darren Star’s show as mere fantasy.”
