Why the New Series from the 'Sex and the City' Creators Misses the Mark

Neither the extravagant costumes nor the iconic Eiffel Tower can save this series from falling flat.

On October 2nd, Netflix released all 10 episodes of a new series starring the talented Lily Collins, set against the sparkling backdrop of Paris. Created by Darren Star, famed for 'Sex and the City,' and featuring costumes by Patricia Field, known for her work on 'Sex and the City' and 'The Devil Wears Prada,' the show seemed destined for success. Sounds promising, right? Unfortunately, something just doesn’t click.

Lackluster Storyline

The protagonist, Emily Cooper (Lily Collins), is a marketing professional from Chicago with a dull boyfriend. When her boss unexpectedly becomes pregnant after a farewell fling, Emily is sent to Paris in her place.

Emily is thrilled as her dream seemingly comes true, although the series takes its time revealing that she even had such a dream. Paris, however, greets her with indifference: locals mock her lack of French, the building’s numbering system confuses her, and her shower breaks immediately. Her coworkers are a particular source of frustration—the office quickly labels her a naive newcomer, while her demanding boss piles on impossible tasks. Adding to the tension is a charming neighbor whose romantic interest is not easily won. The one bright spot is Emily’s newfound hobby: her Instagram blog, which rapidly gains followers.

The plot feels like a patchwork of early 2000s hits. The harsh boss resembles the formidable character from 'The Devil Wears Prada,' Emily is glued to her smartphone like a 'Gossip Girl' character, and the female conversations echo 'Sex and the City.' It feels like we've seen it all before—just more engaging 15 years ago.

Attempts to modernize the story with themes of sexism and the Me Too movement fall flat. Emily still seems desperate for male approval, endures mistreatment from her superiors, and idolizes glamour—hardly groundbreaking for 2020. The series is simply dull, offering no fresh or shocking insights.

One-Dimensional Characters

It’s hard to connect with Emily Cooper at first, as little is revealed about her background or motivations. Lily Collins’ perfect brows aren’t enough to piece together her personality. After a few episodes, we see she’s inventive and resilient, but why she’s so determined remains unclear. Is she afraid of losing her job? Does she want to stay in the city of lights? Is she driven by love? The show leaves these questions unanswered.

Emily’s friend Mindy, of Chinese-Korean descent, appears only to gossip and giggle about past nights. The handsome neighbor rarely speaks beyond one sentence. Colleagues are clichéd fools who reject Emily’s innovative American ideas.

The only somewhat lively character is Emily’s French boss—attractive, witty, and juggling a complicated work-life balance as her main client is also her lover. Although familiar, this subplot adds some much-needed flavor to the otherwise flat cast.

Overused Stereotypes

The series compiles every cliché about Paris and its inhabitants. Emily’s blog highlights quirks like Parisians’ constant smoking—even post-workout—late work hours, obsession with sex and perfume. Unsurprisingly, French critics have called out the show for its offensive and shallow stereotypes.

Supporters argue the series satirizes American perceptions of Europe. Indeed, Emily parades around in a ridiculous red beret, mispronounces French words every few minutes, and imposes American values on others.

The problem is that no matter the angle, the story is saturated with stereotypes—whether about French, Americans, Germans, or Chinese—making the cultural clashes feel forced and excessive for such a simple plot.

Excessive Parisian Imagery

It would be odd if a show titled after Paris didn’t showcase the city, but here the city’s presence becomes overwhelming. Awkward moment? Cue the Eiffel Tower. Emily falls in love? The Eiffel Tower shines in the background. The viewer loses interest? Time for another Eiffel Tower shot.

While 'Sex and the City' celebrated New York with a vibrant sex-positive narrative, this series fixates on baguettes and narrow streets in a nauseatingly sweet manner. Initially, the city’s charm shines through—the language’s melody, the seductive pastries—but the repetitive, glossy portrayal quickly drains the romance. The show never explores Paris’s hidden gems or unflattering realities, opting instead for monotonous polish that tires the eyes.

Just like fresh French bread is delightful once but tedious after hours, the series’ Paris obsession wears thin.

Stylish Costumes

The show’s saving grace is its endless parade of eye-catching outfits. Costume designer Patricia Field replicates her past success, echoing some looks from Carrie Bradshaw’s wardrobe. Emily’s fashion is a curious mix—heels where locals prefer flats, fringe bags, and bold patterns—yet watching this style showcase is a treat, especially for fans of early 2000s fashion.

Emily’s boss also deserves mention for her understated yet sexy attire. Actress Philippine Leroy-Beaulieu, aged 57, is a rare example of a character who embraces her age gracefully instead of being artificially aged down, highlighting the strengths that come with maturity. This alone makes watching worthwhile.

In summary, this series is a quick watch with 10 half-hour episodes, but it’s unlikely to be worth your time. The unappealing characters, repetitive Parisian scenery, and tiresome stereotypes detract from the experience. However, those nostalgic for the early 2000s might find some enjoyment. If so, revisiting 'Sex and the City' is a better bet—why settle for a mediocre copy when the original is so much better?

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