The play will appear less repetitive if you stop thinking about the narrative and start paying attention to Emily’s tulle dress, knee-high boots, Mindy in a red latex outfit inspired by dominatrix garb, or Sylvie wearing her attitude and plunging necklines with her characteristic aplomb.
Emily Cooper (Collins), the cheery, hyper-energetic marketing professional from Chicago, appears to be more skilled in Parisian ways after two seasons of making errors and moving on to make new ones while mysteriously fixing every problem around her in a jiffy. Her French is improving, even though she confuses champagne with champignon (mushroom). Her awareness of the people and culture of Paris is also excellent. However, the drama surrounding her love life and job decisions is lukewarm in comparison to what is promised in the trailer.
Emily is at a career and emotional crossroads as the second season ends on a cliffhanger. Emily’s very pregnant American supervisor and mentor, Madeline (Kate Walsh), was furious when her coworkers organized a “French revolution” strike. While Emily cannot bear the thought of failing Madeline, she is tempted to join Sylvie (Leroy-Beaulieu) and her other French colleagues in opening a new agency and attempting to restore their business. Then there’s her ongoing romantic quandary: does she pursue her British boyfriend Alfie (Laviscount) or the attractive but inaccessible French chef Gabriel? (Bravo).
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These issues, however, are resolved quickly once the tension is built, at least for the time being, in the show’s normal pattern. And Emily marches around the streets of Paris in her really high heels, constantly taking photographs and uploading them on Instagram.
While the plot remains thin, the clothing of the major characters remains outstanding. Aside from the couture, what makes this season succeed is the focus on the supporting characters. Emily continues to save the day by always being in the right place at the right moment.
However, we learn more about the other characters. Mindy (Park), the daughter of a wealthy Chinese businessman attempting to make it as a singer in Paris, was a popular character in the previous season. This season, she not only establishes herself as a jazz singer but also becomes embroiled in a love triangle. In fact, love triangles are this season’s selling point, since the authors largely depend on them to create drama.
We knew Sylvie was a badass beneath her elegance and attitude from the start. She gets to show off her claws while also revealing her weaknesses. She is sly and cunning, and she understands how to recover her place and evict Madeline.
Sylvie’s business philosophy has always been to prioritize her clients before money. And she decides to honor her connection with legendary fashion designer Pierre Cadeau at the expense of upsetting one of the world’s largest fashion conglomerates. She establishes her own rules, whether it’s about how to run her agency or how to live her life.
Gabriel has been rather enigmatic thus far, an unreachable charming chef for whom Emily has been longing since she arrived in Paris. There’s more to him than simply a romantic comedy archetype. Gabriel wishes to obtain a Michelin star. On a drunken night, he lets his guard down and fantasizes about having a normal family life. Emily needed to do more than shave her front hair and obtain “truma bangs” for the program.
Despite its lack of drama and shocks, Emily in Paris is a beautiful escapist film that is ideal for a year-end viewing. The play will appear less repetitive if you stop thinking about the narrative and start paying attention to Emily’s tulle dress, knee-high boots, Mindy in a red latex outfit inspired by dominatrix garb, or Sylvie wearing her attitude and plunging necklines with her characteristic aplomb. Take in its carefree attitude.
