THE MORNING LIST
While waiting for some exciting releases planned for the start of the year, 2022 ends with more programs than we will have vacation days to watch them. The advantage being above all to have enough alternatives to Emily in Paris…
« Emily in Paris » : un trop long exil
In its third season, Darren Star’s series is no longer based on the conviction that all the banalities take on a charm provided they are said in French with the accent of Chicago, city of origin of the expatriate influencer Emily Cooper (Lily Collins). The agreed-upon gags of the first season, which put together into a passable comedy, have given way to a collage of moments that look like they’re ripped from the pages of a low-cost airline magazine or picked from a rack of cards. postal. The clash of cultures is no longer on the agenda: Paris has fully returned to its vocation as an amusement park intended for American tourists only.
On this increasingly poor soil, the characters wither away. All that’s left of Emily is a series of mines like we do on TikTok. Her lovers, the Parisian cook (Lucas Bravo) and the London financier (Lucien Laviscount) let themselves be lulled by the arbitrary oscillations imposed on them by the scenario. Until Philippine Leroy-Beaulieu who seems tired of embodying again and again the legendary elegance and wickedness of the Parisienne. T. S.
Season 3. Series created by Darren Star, with Lily Collins, Philippine Leroy-Beaulieu, Ashley Park, Lucas Bravo, Lucien Laviscount (United States, 2022, 10 x 25 min.). Available on demand on Netflix.
“The First lady”: three presidential wives through the prism of history
Company of political rehabilitation well of our time, The First Lady comes as a choral series in which the fates of a handful of first ladies intertwine. This narrative choice makes any selection, any preference for one or the other of these characters impossible. It’s a shame because if the idea of drawing up a history of America through women whose role has supposedly been minimized is not bad, the result presented here is very uneven.
Difficult not to be seduced by the composition of Michelle Pfeiffer in the skin of Betty Ford, perhaps the most iconoclastic and the least known (at least in France) of the three first ladies staged in these ten episodes. The task is much more difficult for Viola Davis in Michelle Obama and Gillian Anderson in the skin of Eleanor Roosevelt, two women who have deeply marked the mandate of their husband. This is perhaps what makes the composition difficult, without this justifying the grimaces to which the two actresses indulge, who however have absolutely no need for that. The interest shown in this re-enactment, which is of relatively low historical interest, will therefore depend mainly on the tenderness shown to the actresses. As an argument, we have seen better. A. F.
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