‘Emily in Paris (S2)’, escape for another covid Christmas

‘Emily in Paris’ It will be remembered as, among other things, the series that partly led to the great Golden Globes crisis. When its nominations for this year were announced last February, ‘Emily’ was included in two important categories: best comedy series o musical and best actress in a series (Lily Collins). Meanwhile, the acclaimed ‘I could destroy you’ was left without a single nomination, a comparative offense with racist overtones that even a screenwriter of ‘Emily in Paris’ denounced in the press.

Few weeks later, ‘Los Angeles Times’ shed light on the tolerance of the Hollywood Foreign Press Association (the tiny group of journalists who hand out the awards) for bribery and corruption. There it was remembered, for example, how in 2019 more than thirty of its members traveled to France to visit the filming of ‘Emily in Paris’ and, incidentally, stay for two nights in a five-star hotel and enjoy a meal in a private museum.

“Eureka!” Yelled many. “Now those nominations are understood.” But the conspiracy theory was ruined when, a few months later, in July, the Television Academy wanted to nominate ‘Emily in Paris’ for a pair of Emmys– Best Comedy Series and Best Production Design.

What does ‘Emily in Paris’ have to have captured all that attention? Why (based on Netflix’s ever-changing metrics) did up to 58 million households check it out in its first month in circulation? Perhaps the question lies in that month, in when and not just what. The escapist comedy of Darren Star (‘Sex and the City’) premiered in October 2020, when escaping was an illusion. Also when deactivating neurons for thirty minutes it was cheap therapy. Even those who claimed to hate the show couldn’t stop looking at it. Wouldn’t there be some secret love in there?

Optimism all the time

“And you, do you love or hate Emily Cooper? Maybe & mldr; you love to hate her?” The debate will be rekindled from tomorrow, Wednesday, when the second season of ‘Emily in Paris’ arrives on Netflix to animate another Covid Christmas. The actress Ashley Park, who plays best friend Mindy, portends a dead end debate: “What some find annoying about Emily is the same as others find adorable.” “That is, be optimistic all the time,” adds Emily herself, that is, Lily Collins, adorable on paper, this chronicler is pointed out.

For neophytes or those in need of recap: In season one, Emily Cooper, a 20-year-old from Chicago without much of a world, moved to Paris to bring “an American point of view” to a marketing company taken over by a conglomerate on the other side of the Atlantic. We saw her make her way, based on optimism, and also unconsciousness, in the world of work, romantic and friendly. Emily is not pure naivety, be that as it may: at the beginning of the second season, she is still marked by the guilt of having spent a wild night with chef Gabriel (Lucas Bravo), boyfriend of her best French friend, Camille (Camille Razat), to be sure.

For looking for links with ‘Sex and the City’: it’s like when Carrie was unfaithful to Aidan with Mr. Big. “But something I really like about Emily – Collins explains – is her strong morality. It really hurts her to be in such a complicated situation, especially since it is the first time something like this has happened to her. She sees herself as a friend. Loyal In the series we explore how he feels in the middle of the mess and watching his moral compass go wrong. ” To divert you from the wrong path will appear Alfie (Lucien Laviscount), a London banker allegedly immune to the romantic charms of Paris.

France seen from outside

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Sylvie (Philippine Leroy-Beaulieu), Emily’s boss at the Savoir company, is often spoken of as the heroine’s nemesis, but isn’t she actually her ally? What he offers Emily is not so much hatred as tough love. “I think so too,” says Leroy-Beaulieu, a French film veteran we saw in another series on French office culture: ‘Call my agent!’ “Sylvie puts Emily in dilemmas to mature a little. So yes, it is tough love. There is something mythical about that relationship: the mature woman leading the way to the young woman.”

From your French point of view, does Leroy-Beaulieu agree with the many who have described ‘Emily in Paris’ as a banquet of clichés? “It seems to me that the French have no sense of humor,” he says to the surprise of Francophiles. “Because both the French and the Americans are portrayed by Star in the same funny and cruel way. The French just don’t like it when someone from outside comes to talk about them. Be that as it may, they love to hate the show – everyone watches it“.