There’s a second within the latest season of Emily in Paris that completely captures my emotions about this insipid but surprisingly alluring Netflix present. The titular Emily (Lily Collins) and her good friend/love rival Camille (Camille Razat) discover themselves feuding in Claude Monet’s backyard in Giverny, outdoors Paris. There, within the water lily pond that impressed a few of the most astonishing and delightful artwork in human historical past, the 2 ladies bicker till they fall out of their respective rowboats and splash into the water. As I watched the pair swim for the shoreline, I questioned to myself precisely how a lot cash Netflix will need to have forked over for the privilege of defiling such a sacred area. As the ladies dry off, Camille tries to clarify to Emily, who seems to have the training of a golden retriever, why Monet’s makes an attempt at capturing nature by way of Impressionism had been so inspiring. “None of it’s good,” she says, “however all of it’s lovely.”

Oui, oui, bébé. 

Now in its fourth season—the primary 5 episodes of which went reside on Thursday, with the subsequent 5 coming Sept. 12—Emily in Paris is, because the advanced title hints at, a present about Emily in Paris. Performed by Collins as an eternally upbeat ingenue, Emily is an American advertising and marketing maven working for a French agency led by Sylvie (Philippine Leroy-Beaulieu), a Miranda Priestly–fashion siren who appears to be like endlessly stylish at the same time as she delivers traces like “Your influencers are getting impatient, Emily!” The agency’s “work,” akin to it’s, consists primarily of going to lunches and attending galas.

Emily in Paris just isn’t present. It has by no means been present. Its stars know that it’s not present—none extra so than its French stars, who at first appeared considerably embarrassed about taking part in one thing so laden with low cost stereotypes, however who now appear to have turned off the components of their brains that really feel disgrace. However not like a lot of the slop Netflix recurrently churns out to fill the content material void, Emily in Paris appears possessed of the self-awareness that it’s not present. Its creators seem stubbornly decided to maintain issues as fairly, lighthearted, and smooth-brained as Emily herself: That is tv that desires you to have enjoyable. Its forged is made up of cartoonishly attractive individuals who steadily kiss each other. Its characters by no means repeat an outfit or make a logical choice. It’s stacked with extra gorgeous aerial pictures of Paris than the 2024 Olympics opening ceremony. None of it’s good, however my God is it fairly.

Our heroine, Emily, just isn’t a sophisticated individual. She’s focused on males—effectively, simply two particularly: the hunky English banker Alfie (a buff and fortunately steadily shirtless Lucien Laviscount) and the dreamy French chef Gabriel (Lucas Bravo, who seems to have been designed in a laboratory devoted to Gallic beauty)—and she or he’s focused on her seemingly unending assortment of couture that she one way or the other shops within the tiny condo she shares together with her good friend Mindy (Ashley Park). Regardless of residing in Paris for a while now, she has picked up barely any of the language, which doesn’t matter as a result of everybody speaks English to her anyway, appropriately assuming she’s an fool. (To cite Residence Alone, she is amongst what the French name “les incompétents.”)

And but the present presents Emily as some form of social media savant, a Don Draper for the digital age able to devising unimaginable model campaigns that go away all her colleagues and shoppers floored by her genius. Most of the time, these concepts merely contain a hashtag and throwing a lavish celebration. “How is that this a model extension for the perfume?” one character asks this season a few deliberate masquerade ball, in a second of readability that feels as if he’s seeing shade for the primary time. (The skepticism is shortly quashed, and the ball seems to crush the company’s KPIs of, I don’t know, variety of influencer photographs taken with a fragrance bottle?)

The present borrows closely from creator Darren Star’s earlier sequence, together with Intercourse and the Metropolis, nevertheless it’s Star’s Youthful with which it shares essentially the most DNA. Like Youthful, Emily in Paris began with a singular conceit a few lady’s skilled life (Sutton Foster’s Liza is pretending to be younger! Emily is, er, in Paris!) that turns into much less central to the sequence over time. Certainly, though the primary season of Emily in Paris was so filled with clichés concerning the French that it may have sparked a diplomatic incident, the present has—mercifully—largely moved on by now. If something, many of the cultural observations this season are concerning the U.S.: One character smugly brags to Emily that abortion continues to be authorized in France, whereas one other bemoans that they received’t be receiving any public funding for his or her band: “No assist from the federal government? What is that this? America?!”

This season, the present’s focus has shifted firmly from French tradition to its characters, who’ve been left rattled by the pregnant Camille’s choice to go away Gabriel on the altar due to his long-simmering emotions for Emily. It even tries its hand at some critical social commentary, with a #MeToo plotline wherein Sylvie should resolve whether or not to talk out in opposition to a lecherous style business government.

Season 4 covers new floor with Emily’s intercourse life too, though I nonetheless discover it unusual {that a} sequence positioned as a non secular inheritor to Intercourse and the Metropolis (that present’s costume designer, Patricia Subject, famously opted to work on Emily in Paris fairly than the reboot And Simply Like That …) and set in France, of all locations, may very well be so coy about exhibiting any precise intercourse. In a single scene, Emily and a lover purportedly do the deed on her roof, however the digital camera shortly transitions away, and she or he later confesses that even that fully unseen second was too spicy for her. Bridgerton will get away with rather more.

However regardless of its quirks, Emily in Paris in the end succeeds as a result of, like Emily herself, it’s oddly likable, regardless of all our higher judgment. It’s breezy, fashionable, and silly—and happy with it, which is one way or the other fairly charming.

In his publication Rubbish Day, the web tradition author Ryan Broderick not too long ago tried to outline what he termed “content material slop,” referring to our society’s countless stream of low-culture rubbish, whether or not it’s nonsensical A.I. artwork on Fb, countless Taylor Swift variations of her personal songs, or Netflix exhibits. Labeling it the defining style of the 2020s, Broderick writes that slop at all times feels compelled upon viewers, who acknowledge that it’s of little worth. Greater than that, Broderick writes, “it not solely feels nugatory and ubiquitous, it additionally feels optimized to be so.”

I’ve little doubt that Netflix execs and the algorithm that they worship as a god have appropriately decided that fairly garments, sizzling males, and inventory footage of Paris will get a bunch of women and gays watching this present, which admittedly won’t ever win awards or function any actual appearing to talk of. That mentioned, if Emily in Paris is slop (it’s), then it’s junk that at the least feels decadent and glamorous, like some wealthy and colourful patisserie creation that is dangerous for you except consumed in small parts—as is the French fashion, in spite of everything.

As Gabriel tells Emily in a single episode, after leaving the masquerade ball, “Why don’t we simply neglect about actuality for one evening and simply keep within the fantasy?” Within the well-known, completely actual phrases of Marie Antoinette: “Allow them to eat … slop.”