The Atlantic

<em>Emily in Paris </em>Is the Last Guilty Pleasure

The Netflix show, now in its second season, is an argument for the joys of tackiness.
Source: Carole Bethuel / Netflix

Right-thinking people agree: Like the burning of Notre Dame, Netflix’s Emily in Paris is a catastrophe for the culture. In mid-2020, when COVID-19 was still novel, the first season of the Sex and the City creator Darren Star’s new sitcom portrayed an American marketing professional (Emily, played by Lily Collins) Instagramming her way through the most sophisticated city on the planet (Paris, shot on location). Withering reviews, offense from French viewers, and the headline “People Hate Emily in Paris So Much It’s a Global Crisis” ensued. Recent reforms at the Golden Globes may owe, in some part, to widespread horror at the awards nominating over more respectable (and diversely cast) fare.

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