“Emily in Paris” has a way of driving viewers crazy. There were groans when the Netflix series’ first season was nominated for best comedy at the Golden Globes and at the Emmys. And it occasioned a…
Sure, nominating “Emily in Paris” as one of the very best shows on TV seems a little overblown. But, as the show’s second season drops Dec. 22, so does describing it as at the forefront of any contemporary movement, much less a dystopian one. Television that exists to be viewed ambiently rather than deeply obsessed over is something that’s been with us throughout the history of the medium; indeed, it’s only relatively recently that televised dramas started being treated as high art.
All of which adds up to a show that isn’t terribly cerebral or demanding, coasting on the charm of its setting and the age-old culture-clash storyline. But being a good hang counts for something. And the flaws of “Emily in Paris” — its refusal to engage with the concept of actions having consequences, for instance — can be seen as the result of its endless pursuit of showing us the next charming setting, the next delirious misunderstanding.
Which is not to say that any old slop can be excused as long as it entertains someone. But “Emily in Paris” features shrewd acting by Collins, holding her features somewhat blankly as a comment on the social-media age that I’d argue the show knows it is making. If Emily’s life in pursuit of Instagram likes is “dystopian,” the show is aware of this; the randomness of her successes at work seems a comment on the capriciousness of life online.
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