Emily In Paris season four SLAMMED by critics who brand Lily Collins’ Netflix show ‘deeply annoying’ and ‘devoid of charisma’

The reviews for the new season of Emily In Paris on Netflix are starting to roll in. And to say they’re not very positive would be an understatement.

Lily Collins returns as the title character, Emily Cooper, a young American woman from the Midwest who turns her life around and takes a new job in Paris.

With Season 4 premiering on Thursday and the LA premiere taking place on Wednesday, the reviews are starting to roll in, many of which are not positive.

The show is returning after a two-year hiatus, but some critics felt it wasn’t long enough. They were fiercely opposed to the show.

A review by Leila Latif of The guard was perhaps the most brutal, calling the show a “television black hole,” that is, “devoid of plot, charisma and intrigue.”

The critic said she watched the first half of Season 4, which premiered on August 15. The second half of five episodes was released on September 12.

She continues to insist that “absolutely nothing happens,” as the title character continues to work as a marketing manager while simultaneously becoming embroiled in a love triangle with her coworker Luc (Bruno Gouery) and roommate Mindy (Ashley Park).

The reviewer stresses that there is “absolutely nothing at stake” when it comes to the love triangle, and that the “drama” in the series stems from her professional life, but that also seems a bit of an exaggeration to me.

“In each episode, she must use her talent and sunny disposition to ensure that social media strategies are executed with verve. To say that this is as exciting as watching paint dry would be a disservice to the many excellent shades of paint,” she says.

The critic adds that there are several subplots involving “missing persons, #MeToo and Michelin stars,” but that these ultimately “lead nowhere.”

Another review of the Irish Independent was just as fierce, calling the series’ version of Paris “an amusement park version of the City of Light.”

He brings up the show’s running joke that Emily doesn’t speak French and even after four seasons, she makes no effort to learn the language, and yet everyone in Paris seems to love her, which probably wouldn’t be the case in real Paris.

“If this were the real Paris instead of a theme park version, Emily would get on everyone’s nerves. Instead, they all find her cute and lovable. And irresistible, too. Men fall at her feet on every street corner,” says critic Pat Stacey.

Another point of criticism in this review is how the series ignores the racial and cultural diversity of the city, adding: “This fantasy Paris is as whitewashed as Richard Curtis’s Notting Hill.”

However, another piece of The guardJoel Golby admits the show is ‘terrible’ but believes it’s time to put the ‘feud’ surrounding the show to rest.

“The thing about Emily in Paris is that it’s not for me – it’s not even particularly for people who sit up – and if you can see through all that, you can, well, ‘enjoy’ isn’t the word, exactly. But at least you can appreciate Emily in Paris for what it is, which is a shamelessly silly, soapy, Technicolor whirlwind of nonsense,” he said.

“It’s a show to give work to beautiful people who can’t act, and a show where, 30 episodes in and 10 to go, nothing of note has really happened,” he adds. However, he realizes that he’s reigniting his “feud” after thinking about it more and concludes: “It’s beneath contempt for anyone who’s ever seen it.”

Jay Snow of Paste Magazine claimed that the new series “still has nothing new to say.”

They dug into Emily and Gabriel’s romantic scenes, writing, “They can drag out Emily and Gabriel’s romance as long as they want, but so far it’s done nothing but hinder the story and character development.

“Unless there’s a major change after this season, it might be time to say au revoir to Emily and her teammates.”

Other critics, however, were much more enthusiastic about the final episodes and were very complimentary about them.

Emma Stefansky of The Daily Beast called the fourth season “absurd and adorably idiotic.”

“It’s just as entertaining as anything else the show has come up with,” she said of the new storylines.

‘I don’t pretend to know anything about fashion, and I certainly won’t learn anything from this show, but it’s always fun to watch the wardrobe department go all out on something like this, when other shows dress their cast in a sea of ​​crewnecks and black trousers.’

Collider’s Emily Cappello called the series’ return “stunning and self-aware… a fashionable ride through the streets of Paris.”

She noted that in season four, Emily finally “explored her need for control and embraced her vulnerability.

She also praised the new episodes for allowing Sylvie to shine, saying that more space and weight was given to her “realistic and penetrating inner conflicts.”

Meanwhile, Robert Crampton of The Times was enthusiastic: ‘When the script is as good as this, you can’t dismiss Darren Star’s show as mere fantasy fluff’