Emily in Paris debuted with a promise of whimsy, charm, and a glamorous escape into the dreamy world of Parisian life. The show quickly captured the imagination of audiences with its blend of romantic entanglements, cultural clashes, and the over-the-top wardrobe of its protagonist, Emily Cooper (Lily Collins). Premiering during the height of the global COVID-19 lockdown in 2020, the Netflix original offered viewers a much-needed escape from the chaos of the world. It was never meant to be taken too seriously—just a bit of fun, a fantasy-filled distraction that allowed us to lose ourselves in the picturesque streets of Paris and the chic, if sometimes wild, fashion choices. And that was perfectly okay.
In those early days, the show thrived as a light-hearted romp through a world many of us were longing for—a world of travel, socializing, and carefree adventures. Watching Emily in Paris was about indulging in the vibes, the outfits, and the romanticized version of life in the City of Lights. It didn’t need to be profound or realistic. It was escapism at its finest.
However, as the show has progressed, with season four premiering on the streaming platform earlier this month, what was once a charming, if somewhat frivolous, series has morphed into something far more insipid—a glossy, superficial carousel of product placements and branding exercises that seem to prioritize commercial interests over genuine storytelling. The transformation is stark, and it’s time we acknowledge that Emily in Paris has lost its original charm, becoming nothing more than a vehicle for consumerism.
Sure, the first season of Emily in Paris had its flaws, but at least it was grounded in a narrative that, while fantastical, still revolved around Emily’s challenges in adapting to a new culture and workplace. The humor often stemmed from the cultural misunderstandings and the personal growth that Emily experienced. The supporting characters, from the no-nonsense Sylvie to the charming Gabriel, were integral to the story, providing a counterbalance to Emily’s American optimism.
Fast forward to the most recent season, and the show has abandoned any pretense of depth or character development. The plotlines have become increasingly absurd, as if the writers are desperately trying to outdo the previous season’s antics with even more outlandish scenarios. Emily’s character, once a naive yet ambitious marketer, has been flattened into a caricature who flits from one contrived predicament to another, with little to no emotional stakes.
But perhaps the most glaring shift in Emily in Paris is its blatant commercialization. While the show was always indulgent in its portrayal of luxury, the early seasons still felt like they were about Emily’s journey. Now, it seems the show exists solely to flaunt the latest designer outfits, high-end brands, and Parisian landmarks, often at the expense of the narrative.
This commercialization is evident in the way entire plotlines are now constructed around brand promotions, turning what should be story-driven moments into little more than elaborate ads. The fact that Emily works at a marketing firm gave the show an organic way to integrate brands like Baccarat, Ami, and Vestiaire Collective into the storyline, but after four seasons, it no longer feels natural or clever—it feels forced.
In the early seasons, despite its clichés, Emily in Paris had a certain charm. It was a light, fun, and slightly absurd take on the life of an expat in Paris. The show leaned into its romanticized portrayal of the city, but there was still a thread of sincerity in Emily’s struggles to fit in, make friends, and succeed in her career. Her journey was relatable to many young professionals trying to find their place in a new city or industry. However, by the latest season, any semblance of this relatability has been drowned out by the show’s obsession with style over substance. Emily’s career, which was initially a source of drama and conflict, has been reduced to a series of gimmicky campaigns that serve more as a backdrop for showcasing products than as a narrative arc.
And in a world where we are already bombarded with ads at every turn—whether on social media, in public spaces, or even in the content we consume—the last thing we need is to be subjected to even more of them during our Netflix binges. The oversaturation of product placements has tainted even the simple pleasures of watching the show for its vibes and fits. The fact that these ads are woven so prominently into the fabric of the show, under the guise of being part of the narrative, feels inauthentic and exhausting.
It’s clear that Emily in Paris has run its course. At this point, the show is not evolving but rather repeating the same formula with diminishing returns. The narrative has lost its direction, the characters are stagnant, and the emphasis on product placement has become overbearing. It’s time for the creators to recognize that Emily has outstayed her welcome in Paris. Ending the series now would allow it to retain some of the charm that made it a hit in the first place before it loses all of its original appeal.
