Emily In Paris season 4 is more of the same

Netflix’s decision to split Emily In Paris season four into two halves is ridiculous. The show’s pleasures, however few they may be, lie in the ability to speed-watch until your eyes glaze over from its glossy fashions and impeccable locations. Throwing in an unnecessary break doesn’t help, as this isn’t a nail-biter like Stranger Things or Ozark that has an inexplicable twist or two to ponder between batches. Emily In Paris is escapism at its shiniest. And who the hell wants to halt halfway through to watch that? 

At this point, Emily In Paris has a formulaic story structure that it will adhere to no matter what. It’s devised to be enjoyed and then to moved on from. The writers and performers aren’t challenged, so the audience isn’t either. And perhaps that’s the fun of it. A rote yet amusing setup seems to be working adequately considering Darren Star’s series has cobbled up a fourth season. (Part one premieres August 15, and part two starts September 12.) If there’s one thing EIP continues to get right, though, it’s lavish costumes, makeup, and production design, all of which are elevated in these five episodes. The rest of the show? Not so much. 

Chicago transplant Emily Cooper (Lily Collins) is still a good-hearted menace in her relationships and at work. This means her incessant meddling hasn’t stopped, much to the annoyance of her colleagues (and oftentimes, the viewers). The marketing whiz that she is, Emily brings her personal life into her assorted clients’ ad campaigns in unfathomable ways. A sexy rooftop rendezvous factors into one brand promotion, and her breakup into another. Anyone else would’ve been fired for these missteps. Not our girl. 

Thankfully, Emily In Paris takes place inside what Paris in a snow globe must feel like. She’ll put on her best couture, strut about town, grab a drink and croissant with Mindy (Ashley Park) to talk about their problems, share a longing look with a love interest, and eventually, everything will be okay. Through this format, the show is desperate to remain lighthearted and whimsical. It’s actually pretty great at carving out that reverie-like tone and dialogue. But EIP suffers when it attempts to take itself seriously. 

A huge subplot with Emily’s boss, Sylvie (a magnifique Philippine Leroy-Beaulieu), revolves around her coming forward about the harassment she faced while working under the owner of a fashion house at her previous job. It’s a critical story, but the execution feels rushed instead of thought out. EIP also suffers by putting Mindy on the back burner. Along with Leroy-Beaulieu, Park is a standout performer. She waltzes in and immediately commands the screen, pulling off extravagant outfits and doling out expert advice as Mindy. So it’s sad that a Eurovision-themed arc for her next step as a singer is launched in the premiere only to get abandoned as episodes continue. The assumption is season four’s second part will follow up on it, but by then, it’s only going to feel more dragged out.  

But don’t worry: Emily’s love troubles are still in the limelight. Watching her romantic tension play out is as good as seeing a hamster running on a wheel; it’s tedious and repetitive, but Emily In Paris won’t tire of it. Season three ended with Gabriel (Lucas Bravo) getting dumped at the altar, leaving a path open to date Emily after a lengthy will-they-won’t-they. But then where would the contrived drama come from? So, at least in the beginning, Emily and Gabriel try to figure out how to handle a new hurdle: Gabriel’s ex, Camille (Camille Razat), is pregnant with his baby. Camille might not have married him, but they’re about to become a family anyway, and Emily finds herself smack dab in the middle of their predicament.

Meanwhile, Emily deals with the fallout from shattering Alfie’s (Lucien Laviscount) heart. He doesn’t know how to process her betrayal or if he still wants her, which stretches this love triangle longer than it should. On the plus side, EIP allows Emily to make a final decision in a visually stunning installment, so let’s hope her choice sticks. But who are we kidding? Part two is going to find a way to dial up the theatrics. At least season four finds silly moments of comedy to balance the melodrama (think stories about penis pants, Gabriel’s ongoing pursuit of a Michelin star for his restaurant, masquerade balls, and more over-the-top parties). 

Emily is at the center of it all as a weird beacon of hope: If things can go right for her despite her many mistakes, maybe the others have a chance. Collins’ syrupy performance remains intact for better and worse. She’s transformed into the fairy-like heroine she’s been aiming to be since 2020 but with not much growth. Part of the blame here is on the script, which doesn’t go beyond “Emily’s about to bulldoze her way into and out of a situation.” Thirty-five episodes in, she hasn’t been gifted with much character development, but it’s easy to get acclimated to her breeziness anyway. And that sentiment applies to the series overall. It’s curated to turn off your brain so you can enjoy the stylish French settings (if you can ignore the glaring stereotypes). But you can’t really fault the show for knowing exactly what it is and giving viewers what they want. 

Emily In Paris season 4, part 1 premieres August 15 on Netflix