People Hate ‘Emily in Paris’ So Much It’s a Global Crisis

Everything we can’t stop loving, hating, and thinking about this week in pop culture. [View in Browser]( [Subscribe]( [Image] with Kevin Fallon Everything we can’t stop loving, hating, and thinking about this week in pop culture. This Week: - Everyone is talking about Emily. (The one in Paris.) - Two reasons to keep watching SNL. - Things that made me happy! - Things that made me angry! - What can’t Mariah Carey do? The Emily in Paris Discourse Is Shocking [Emily in Paris]( was so annoying. I can’t wait for more episodes. It seems that I’m not alone. This is one of those rare, though always gloriously ridiculous industry situations in which the most popular show on television is also one of the most complained about. [Alternate text] Since it premiered last week, Lily Collins’ culturally tonedeaf romp through Paris has ranked near the top of the Netflix 10. Those who watch have binged through it in a day. And when they’re done, they’ve taken to social media to talk about how irritating, yet somehow also addicting and endearing they found it. Is that the typical rom-com discourse? The desperate need for something frothy and escapist right now? Le syndrome de Stockholm, our captive’s addiction to anything on Netflix, but with a French twist? Early reviews for the series, in which Collins’ Emily in Chicago becomes the titular Emily in Paris when her company sends her there to do social media marketing for its French clients, were [perfectly polite](. Sure, Emily is as if the most unappealing character traits of the four Sex and the City women manifested themselves into one person, and the show has a sentient rodent’s understanding of influencer culture and social media. But there was a Hot French Chef (Lucas Bravo) and some perfectly confectious romantic-comedy story arcs. Voila, a harmless, charming show. But then people actually started to watch it. The Twitter reaction was...aggrieved. [Alternate text] [Alternate text] [Alternate text] [Alternate text] My colleague Tim Teeman watched this show this week and wrote in his [Daily Beast review/rant,]( “My hope was that Emily in Paris would, if not solve anything, then at least lighten a frazzled mood. Think of it: Paris, beautiful clothes, beautiful people, romance, comedy, warm-bath, escapist television… But no, it left this viewer even more furious.” From InStyle to The New York Times, mainstream outlets began reporting on the ways the show managed to at once piss off [real-life social media editors](, the [French](, and the only group of snobs more obnoxious than both of those: [pizza purists](. So much ire. And yet...so much popularity! I love the chaos of it all. What is the psychology behind the fact that everyone hated the experience of watching this show, yet still watched the entire thing to completion in a matter of days? What about how they then loudly told everyone they knew that they hated the experience of watching the show, yet those people watched it anyway—and now here we are journeying down that rabbit hole of dissonance between its popularity and its reception? It’s the strange thing that it’s not an example of hatewatching, because the show is hardly “terrible,” with most critics remarking how inoffensively charming it can often be. So what is it then? Make it make sense! (Me referring to this phenomenon right now and also screaming at my TV at 2 o’clock in the morning last Friday as I poured another glass of wine and pressed play on the next episode.) Some have offered that the gorgeous visuals were enough of a reason to watch. The City of Lights as framed in the series provides a spectacular televised postcard, as so many of us continue our quarantines, lockdowns, and social distancing. Others have ventured the justification for bingeing is the [Hot French Chef](, no further explanation needed. [Alternate text] And while it is remarkable that I had enough time to write this in between Google searches for “Lucas Bravo from Emily in Paris shirtless”—did you even enjoy a male actor’s TV performance if you don’t immediately google their name and “shirtless”?—there is still something very funny to me about this show that was likely designed to be innocent mainstream entertainment somehow stoking some of the most intense passions about any TV series in the last year. This isn’t Watchmen, people. It’s Emily in Paris. In any case, if you were curious what actual people in Paris, Emilies or otherwise, had to say about the show, here’s [The New York Times headline]( for you: “Ridicule.” Say Something Nice About SNL It’s like Charlie Brown and the football with [Saturday Night Live](, with all of us chugging coffee in order to stay awake for what promises to be searing, dangerous, hilarious political satire only for Lucy, er, Lorne Michaels to serve up Alec {NAME}’s sphincter-lipped Trump impression and bland both-sidesism as commentary instead. The political content of last weekend’s SNL premiere was milquetoast to the point of infuriating. With Donald Trump—the man who publicly flouted his own experts’ coronavirus safety guidelines, openly belittled those who adhered to them, and downplayed the danger of the pandemic—in the hospital being treated for the very same disease, SNL doing [even-handed political comedy]( was as close to meeting the moment as Fergie was to hitting the high notes in the national anthem. But as the season’s second episode approaches and we await the inevitable news that, I don’t know, Channing Tatum has been cast as the fly on Mike Pence’s head, we’d thought we’d focus on the aspects of the premiere that actually worked: the platform given to the show’s two most promising rising stars, Chloe Fineman and Bowen Yang. [Image] It’s the biggest SNL cast in the show’s history, so we’d imagine there was stiff competition for a premiere spotlight. (Even Kate McKinnon barely appeared outside of a silent RBG cameo that was exhaustingly trite, yet still made me cry a little.) Fineman’s [The Drew Barrymore Show]( parody and Yang’s [“Weekend Update” appearance]( as a Chinese trade representative were inspired: comically brilliant, full-stop, but also remarkable because of how historically bad the show has been at utilizing their specific talents. Fineman ranks among the best impressionists the show has ever had, as that Drew Barrymore Show sketch proved, showcasing her flawless take on the host as well as Reese Witherspoon and Nicole Kidman. But, as we’ve seen with how Melissa Villaseñor has toiled in the background for her years in the cast, the show for some reason seems to fail female impressionists. And Yang, who in addition to his ferocious delivery at the Update desk, also was responsible for co-writing and performing in last season’s iconically bizarre Harry Styles “[toxic in the community” Sara Lee sketch](. That sketch nailed two notorious dim spots for SNL: millennial/Gen Z humor, and queer humor. Fineman and Yang are sharp and weird and seem to have a handle on the current cultural pulse, something novel for SNL! People wonder why, if SNL is so exasperating, do we continue to tune in week after week, year after year. The answer is masochism! We love to complain. And also, now, these two future stars. A Few Moments of Actual Happiness and Fun In a rare treat during these overflowing toilet times that we’re living in, instead of scraping the barrel for the One Damn Nice Thing Keeping Up My Will to Live this week, there were, much to my surprise, multiple contenders for the title. At one point I even found myself in something I barely recognized as a *good mood.* Shocking if true! First, we have, in an important update to [last week’s soul-healing news]( that a Christmas musical produced by and starring Dolly Parton is coming to Netflix this November, the first photo evidence that this cinematic miracle is actually real and not something from a melatonin fever dream I once had. [Alternate text] The first thing to say about this photo is that it is art. I’ve never seen such beauty. When people mock “this is the future liberals want,” they think we’re envisioning some sort of socialist, gender-fluid utopia, when really all we want is Christine Baranski in a leading role in a Netflix movie that casts Dolly Parton as an actual angel. Next, if you’ve caught me smiling in the past week, it’s because I’ve been thinking about the time that Wendy Williams was reading Trump’s outrageous “don’t be afraid of COVID” tweet and pronounced “COVID” as “Cornova.” Twice. ([Watch it here](, but wait until you have 47 consecutive free hours to play it on loop over and over again.) Speaking of that criminal Trump tweet, if you’ve seen My Girl you’ll know why [this meme]( making fun of it made me laugh harder than I had since I have since...Wendy Williams invented the word “Cornova.” And also why I then wept for about two hours because, you know, My Girl. [Alternate text] And speaking of My Girl and Macaulay Culkin and things that made me happy, this photo of Culkin wearing a mask that is the bottom half of his Home Alone character Kevin doing the after-shave scream is just about as delightful as it gets. [Alternate text] A Few Moments of Absolute Anger and Disappointment One of the maddening—though, yes, in the grand scheme of things, less consequential—byproducts of the pandemic, the months-long lockdowns, and the safety protocols that must be organized to return to work is that some TV series that had been previously renewed for new seasons have had those renewals revoked and have been canceled. This includes the underrated On Becoming a God in Central Florida (which featured Kirsten Dunst in one of last year’s most entertaining performances); the underrated I’m Sorry on TruTV; and Netflix’s underrated I Am Not Okay With This. Feel free to let out a big ole “HMM…” and fire off a few hundred side-eye emojis at how predominantly female-centric, both in front of and behind the camera, [the now-canceled series on this list]( are. In any case, last year after the brilliant third season of GLOW, I wrote a piece with [this headline](: [Alternate text] It appears [Netflix has called my bluff](. New York Times Bestselling Author Mariah Carey! [Alternate text] We stan a literary icon. (And by the way, dahlings, the book is very good.) [Alternate text] - Deaf U: Atone for your Emily in Paris binge sins with this legitimately great show. (Friday on Netflix.) - The Right Stuff: Handsome men blast off this planet. Jealous! (Friday on Disney+) - Totally Under Control: A documentary about the White House’s pandemic response. Spoiler: It wasn’t good! (Tuesday on VOD.) - A West Wing Special to Benefit When We All Vote: The original cast performs a staged reading of a classic episode. A nice thing! (Thursday on HBO Max.) [Alternate text] - Social Distance: What I’ll be doing from this show! Hey-o! (Thursday on Netflix) - The Bachelorette: We as a nation deserve better than Bachelor Nation. (Tuesday on ABC.) Advertisement [Facebook]( [Twitter]( [Instagram]( © Copyright 2020 The Daily Beast Company LLC 555 W. 18th Street, New York NY 10011 [Privacy Policy]( If you are on a mobile device or cannot view the images in this message, [click here]( to view this email in your browser. To ensure delivery of these emails, please add emails@thedailybeast.com to your address book. If you no longer wish to receive these emails, or think you have received this message in error, you can [safely unsubscribe](.