Emily in Paris is the epitome of guilty-pleasure viewing—and will in all probability keep that method.
Within the first season of Emily in Paris, the present’s plucky American heroine doesn’t communicate a lick of French. For each flip of phrase that would transfer Emily Cooper (performed by Lily Collins) up a Duolingo degree, the advertising ingenue peppers her cheery English sentences with an entire lot of embarrassing merde. Fortunately for Emily, issues are lastly wanting up on the language entrance. The primary half of Season 4, which is now streaming, catches up together with her after almost a 12 months of life in Paris, throughout which she took some much-needed French courses. Today, Emily approaches language acquisition the best way a toddler would possibly: by repeating new phrases incessantly.
The most recent addition to Emily’s fledgling French lexicon is trompe l’oeil, a time period first defined to her in one of many new episodes. The phrase, which her pal makes use of to explain an apple-shaped dessert, refers to a creative method that creates the phantasm of a three-dimensional picture on a two-dimensional floor. Emily in Paris goes on to make use of trompe l’oeil as a catch-all descriptor for its characters’ misleading actions. However the phrase is especially related this season, because the present strains to flee its fame as a flat consolation watch and current itself with extra depth. This has meant transferring away from among the transparently ridiculous fare that made the present an early-pandemic hit and towards extra severe, surprising topics.
However the enchantment of Emily in Paris is that the present has all the time been the exact reverse of a trompe l’oeil. Viewers have recognized precisely what to anticipate each season: The anxious, loudly dressed Chicagoan at its heart invariably finds herself embroiled in a low-stakes kerfuffle, then shimmies out of it faster than she will open up TikTok or plop a beret onto her head. Usually, Emily has pulled off these feats just by education her French counterparts on the American strategy to a given subject. Within the first season, for instance, she raises objections to nude photos of a mannequin in a fragrance advert. Not solely does Emily find yourself shifting the route of the marketing campaign; she additionally distracts her colleagues from the unlucky French error she’d made upon arriving at their picture shoot. (“Je suis excitée” doesn’t, actually, convey work-appropriate enthusiasm.) This low-friction ethos has made Emily in Paris a paragon of guilty-pleasure viewing. As my colleague Spencer Kornhaber wrote in 2021, the present “goals of a world through which following your bliss, no matter others’ evaluations, pays off each time, whereas bowing to others’ requirements makes solely distress.”
This season, Emily in Paris struggles to carry on to this core precept, as a substitute dipping into tough subjects that decision for a defter hand. The sequence revisits #MeToo, choosing up on a earlier plotline involving Emily’s boss, Sylvie (Philippine Leroy-Beaulieu). When Sylvie was youthful, she labored for Louis de Léon (Pierre Deny), a strong businessman who leads a Louis Vuitton–esque luxury-fashion home. Sylvie is among the many staff, present or former, whom Louis has sexually harassed, and this season finds her weighing whether or not to talk with a reporter investigating his misconduct. France has had public reckonings with office sexism and sexual assault, however Emily in Paris will not be a present that’s properly suited to exploring the complexities of #BalanceTonPorc.
Social actions hardly ever result in fast, decisive wins that may be celebrated with a bottle of champagne, and the sequence appears unable to reconcile the gravity of Sylvie’s story with the fluff and spectacle round it. Emily in Paris serves up somber recollections about Sylvie’s former boss alongside an absurd revenge scheme orchestrated by one other character: One among Louis’s designers goes behind his again to debut formalwear with ornate phallic designs hanging from the entrance of the pants. “Males can’t maintain their dicks of their pants,” the designer explains in an earlier scene. “Why ought to we faux in any other case?” Emily in Paris thrives on such ham-fisted mic drops, however the riotous reveal occurs throughout a disco-night social gathering, and neither the festive temper nor the immensity of the insurrection actually sticks.
This season’s tonal dissonance attracts consideration to the self-love of the social commentary—and distracts from the self-aware frivolity that first endeared Emily in Paris to audiences. One other arc initially appears meant to critique points of American tradition past the workaholism that Emily personifies. After a pregnant character goes lacking, considered one of her pals casually means that she might have left city to have an abortion. When Emily seems shocked by the thought, the pal provides a matter-of-fact response meant to return off as characteristically French: “Sure, it’s not unlawful on this nation.” Together with that line on this season, two years after the autumn of Roe v. Wade, is an attention-grabbing alternative. However proper after gesturing towards a weighty topic, Emily in Paris returns to a way more acquainted theme: Emily’s frustration with French romantic norms. When Emily finds out that the pregnant character and her girlfriend are briefly dwelling with the kid’s father, she’s exasperated by the association: “Is that this a French factor? Is polygamy authorized right here?”
Emily in Paris is most assured when the hardest questions going through its protagonist contain what time of day to submit an Instagram of the Eiffel Tower. So it shouldn’t come as a shock that the sequence neglects to flesh out one other girl’s expertise of navigating main adjustments in her physique and relationships. The present’s aversion to letting that type of discomfort breathe, halfway into its fourth season, displays one of many many pitfalls of sequence designed for binge-streaming. Emily in Paris isn’t geared up to supply clear-eyed evaluation of the actual world in bite-size releases, and that’s nice. The present can simply maintain doing what it does finest—filtering its dwelling metropolis via the rose-tinted, cat-eye glasses of an expat who by no means grows out of being a vacationer.
