A woman on the verge of a nervous breakdown: a review of the second season of the series "Emily in Paris"
A more thoughtful, but still endlessly empty sequel to the rom-com about the life of an American in France.
In the new season, the protagonist of Darren Star's ambitious project (Sex and the City), a marketing shark named Emily Cooper, continues her immersion in Parisian society, makes a sacramental choice between friendship and love, meets a bored Briton named Alfie and, of course, constantly interferes in other people's affairs. While the professional sphere is actively in full swing, chaos is everywhere on the personal front - in a desperate attempt to regain control of her life, Emily makes the wrong decisions and herself pays for them.
The first season of the romantic comedy "Emily in Paris" failed to win any audience love or critical acclaim, and even two Golden Globe nominations did not save him (ha ha). The show was permanently scolded for a sluggish plot, taken from somewhere in the early 2000s, empty and cardboard characters and an immense number of stereotypes. Most of all, of course, the French suffered - by the will of the creators of the series, they turned into eternally smoking, pompous hedonists who are constantly late for work, have promiscuous sex and, in general, are nothing more than die-hard conservatives who stubbornly deny the progressive tendencies of their American counterpart (which in to some extent really true).
Whether it's criticism on social media or a trite change of creative team, but the second season of "Emily in Paris" unexpectedly derails and takes a course in a completely different story. The funny caricatured French are gradually fading into the background, and instead of them, the main character herself finally occupies the central place in the plot. In the new episodes, it seems, for the first time, we understand who this Emily Cooper really is. A naive American tourist, a marketing shark, or just a little girl with a control neurosis?
In the alternative 2021, Emily's life (like all of us) definitely does not regret, every now and then throwing up complex emotional challenges: the girl unwittingly acts as a villain in her own love story, refusing to be honest with her friend Camille and rejecting her main romantic interest - sexual French Chief Gabriel. Because of which, of course, she suffers terribly, but she cannot help herself - like most of the people of the twenty-first century, Emily is too used to keeping her finger on the pulse. Alas, she stubbornly cannot understand the most important thing: the feelings of other people, and her own, as a rule, cannot be controlled. Personal life cannot be planned as an ideal marketing strategy, and destiny cannot be targeted to the right.
The most depressing feature of Emily is that, unlike her closest serial cousin Kerry Bradshaw, she does not at all explore the nature of personal relationships (or at least her own), but as if ignores it, leaving all feelings and experiences out of the box. rolling them somewhere deeply, deeply, risking becoming a victim of their own neurosis, not only for the coming years, but for the rest of their lives. And in this regard, the strategy of the scriptwriters is a little annoying - why show a character so relevant for our time without leaving him a chance to become better?
Unlike Emily Cooper herself, all the other participants in this story (except, of course, the notorious chief Gabriel) continue to remain in the status of random passengers in the minibus. Most of all, it is a shame for the imposing Alfie, turned into a stereotypical English snob, experiencing catharsis from his own hatred of French culture and language. No less ashamed of the habalistic Ukrainian friend Emily (apparently, this is how all Slavs should look in the eyes of the authors?), Who, however, will disappear from the screen before you start to tear your hair out of anger.
Upon closer examination, the second season of "Emily in Paris" looks like a head and shoulders above the first - the creators listened to the audience, took into account all past mistakes and significantly minimized the level of internal krinzh. However, even the significantly changed tone of the show does not save it from a superficial scenario, which, in fact, turns out to be a complete waste of time. Fortunately, unlike Darren Starr and his team, the wasted viewer's time is limited to only hours.
This article was sponsored by Robert Charvet
Comments