“Emily in Paris” is getting old

Netflix’s Second Season”Emily in Paris“there was an episode that featured exercise bikes. But unlike “And Just Like That”, the HBO Max reboot “Sex and the City” kills off recurring character Mr. Big (Chris Noth) in its first episode, after a cigar and some ill-fated exercise, no one dies on this train ride.

Much of “Emily in Paris,” at least initially, pokes fun at the differences between American and French cultures, with the protagonist, a young marketer from Chicago (Lily Collins) who doesn’t speak. get this language and it seems eat good steak, was sent to Paris for work. She’s a last-minute replacement for her boss (Kate Walsh), who, after discovering her pregnancy unexpectedly, simply can’t go to France as planned.

As someone who was born in America with its gloom mortality Infant and the rate of postpartum care and lack paid family leave, I can think of the worst countries to visit during pregnancy than France. But that’s beside the point.

It’s a flimsy texture, and the first season of the Darren Star show falters, not as obvious as some of the outfits Emily wears, its dialogue as clumsy as her bucket hats. But in the second season, Emily – Still in Paris! The internet is amazing – speak the language better, and surprisingly the show gets better too. That’s largely due to the supporting cast, especially Emily’s boss, Sylvie (Philippine Leroy-Beaulieu).

RELATED: “Emily in Paris” brings all the ugly Americans to the table

Emily, unlike the world-weary Carrie Bradshaw, is an immigrant, wandering around (just select neighborhoods of) Paris widened her eyes and tiptoed, making mistakes and facing no real consequences for her many mistakes; After all, she was a conventionally attractive young white girl. Luckily, she has at least one area where she really excels – and that’s work.

The intriguing oddity of the first season of “Emily in Paris” was the fictional company’s marketing campaigns. Emily’s dreamy stunts include conducting a virtual poll asking if a customer’s nude advertisement is sexy or sexist, pairing a signature scent with a luxury hotel and rebranding bountiful champagne as something to shake up and “spray” in celebration, not drink: one Zhampange for the French set.

As someone who both receives daily offers from journalists and is involved in the marketing of my books, it has been great to see this side of the business, which I feel the least is a little more logical than saying, The publishing world of “Younger”.

“Emily in Paris” revolves around work while “Sex and the City”. . . well, it’s always focus on drinking: go to this club or fancy restaurant or that party or brunch in mimosa. There’s definitely an element to that in “Emily in Paris” – one of the favorites, Gabriel (Lucas Bravo), is a chef, and much of Emily’s business involves client dinners and events. launch party – but the job always seems to be a side job in “Sex and the City.” It barely exists in “And Just Like That”, because of the richness of the characters.

Miranda has the financial security to simply quit her unsatisfying, high-paying job. Charlotte is not active. Carrie, along with an inheritance from Mr. . . a podcast? Which pays well?

Meanwhile, Emily commutes to work every day in a non-air-conditioned office, where colleagues stop by her open floor plan desk, and boss Sylvie has a “no food at work” policy. “. Unless Sylvie allegedly had sex the night before, in which case she carelessly dropped a bag of pastries for her employee.

The treatment of elderly women in “Emily in Paris” clearly marks the Netflix show ahead of “And Just Like That”. The ladies of HBO Max seem surprised to find themselves their age. Charlotte talked about Miranda’s completely gray hair as if it had happened overnight. All three women appear confused about this modern land with its pronouns and privileges as Dorothy emerges from her dilapidated black-and-white home into a world full of color and munchkin.

They can’t seem to make sense of the world they’ve probably been living in all this time,”reduce the initial characters to a cryptic triple“, according to The Guardian. The women all behaved much older than their years, arguing that a lack of technological understanding did not suit characters who were only supposed to be in their 50s.

And while the clothes on “Sex and the City” are always brilliant, in “And Just Like That” they look desperate, not keeping up with what women of good character would wear. The show’s costume designers said they “don’t think about age“But maybe they should be.” Just because it’s expensive doesn’t mean it’s luxurious,” Sylvie said.

Leroy-Beaulieu, 58, wears a bikini in “Emily in Paris”, steps out from the sea like Venus, or Phoebe Cates in “Fast Times at Ridgemont High”. The scene stunned Emily, a beat long enough to make the viewer pause; it definitely won’t be Emily’s the worst Romantic choice.

However, like all the French actors in the film who act better and look better than the Americans in every shot, Sylvie attracts attention whether in her golden headband or woolen gown. high neck. Compared to Emily in her grotesque outfit (and the general attire of Sylvie-aged women in “And Just Like That”), Sylvie looks radiant and acts like a simple queen.

She slipped from French to English to Italian with ease as she draped a long white shawl over her shoulders. She was married, though only on paper (still, she sometimes makes up with her estranged husband). She was the mistress of a presumably older, certainly married man, and now she is the girlfriend of a younger, unmarried and devoted man. She is the director of Emily’s marketing agency and is about to run her own business. But she is not the Samantha Jones of France; Sylvie is more capable than the clumsy women of “And Just Like That”, even who escaped.

She also doesn’t have the coldness of Miranda Priestly (Meryl Streep) in “The Devil Wears Prada, “even though she’s been designed as some sort of designer-dressed villain. Sylvie has too much of a heart for that and she’s also a better supervisor, which becomes apparent when Madeline’s Madeline. Walsh finally makes it to Paris and her micromanagement afterwards Everyone matters to Sylvie, even Emily Warmth radiates from Leroy-Beaulieu’s eyes, and as she dismisses hay correcting Emily, it was fleeting and perfunctory, and she didn’t stop saving her either.

Sylvie is a fixer, quietly competent, dedicated to her employees – whom she always emphasizes work/life balance and reminders not to work on weekends – and more like her mother than Miranda or Charlotte, who actually had children. She cares. She cares a lot, and despite Emily’s name on the title, Leroy-Beaulieu’s Sylvie is reason to watch.

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And that exercise bike? It is called Pelotech; maybe “Emily in Paris” couldn’t get Peloton’s sweet, perverse approval that “And Just Like That” got. That was the subject of an episode at the end of the second season, when an American fitness company tried out in Paris. However, none of the French marketers will have it – “Why would anyone want this when you can ride outside?” Lovely employee Luc (Bruno Guoery) wonders – and the model bike disappears from the office. . .

. . . only to reappear in Sylvie’s well-lit apartment, where we see her riding it, elegantly dressed in sweatpants, when a cat runs by.

We meet Sylvie again in her apartment, alone in her bathrobe, when her ex (who is still married) calls and describes her current relationship with someone. Young men are “silly”.

Sylvie said: “I can’t help but resent how silly I look to you. She bent over the floor to feed the cat, straightening her body. The camera spends a few moments on her face as she stands there, thinking, determined to join her lover to lunch with his friends, a lunch she had previously refused to attend. , worried that her young friends would think of her.

It’s a quiet, frank, and endearing moment of reflection, and a rare glimpse into the inner life of a 25-year-old female character that reminds me a little bit of Diane Street in the 2002 film “Unfungthful.”

But “Emily in Paris” was something aspirational, something hopeful that addressed a bunch of “Sex and the City” fans, for better or worse, into New York City in the 2000s to find mass and media jobs that may not exist and to bank on Magnolia cupcakes. Season 2 of “Emily in Paris” didn’t make me really want to go to Paris. But it makes me look forward to growing old – or at least, not fear it as much as the creepy caricature of women of a certain age “And just like that”.

More stories like these:

https://www.salon.com/2022/01/01/emily-in-paris-is-aging-well/ “Emily in Paris” is getting old

Huynh Nguyen

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