What it’s really like to work on one of TV’s most divisive shows

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Netflix’s Emily in Paris deeply divides critics and viewers, but its Australian writer and producer says “you can’t let it upset you as a storyteller”.

However, when Emily was first released, no one was near any literal water coolers as the global pandemic had most of us working from home. “Some people found it fantastic travel escape, whereas others felt like it wasn’t really reflective of the times. But, you know, it never intended to be,” he says.

The truly global reach of Netflix also contributed to all the noise. “The show finds you, in much more ways, because there is this big tech behind streamers. The algorithms are like, ‘Oh, you like? Here’s a link to a Ringarde T-shirt on Amazon’ or ‘here’s this girl on TikTok doing her take’. The show has such a larger, continued life outside the actual parameters of the show itself,” he observes.

The happy ending for the cast and crew is that all the internet chatter has driven enough eyeballs to the show that Netflix has renewed it for seasons threefour. “The great thing with the double renewal is that we have this opportunity to tell longer form stories. It’s phenomenal and rare in television, and speaks to Netflix’s confidence in the show.

The premise, which allowed them to explore issues around ageism and sexism, was “a winning formula that just kept providing opportunities for story and character,” says Murphy.

 

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