New Delhi

'Emily in Paris' debuted its third season on Netflix on Wednesday. Starring Lily Collins in the titular role, the Darren Star-created series follows Emily, an American marketing executive who moves to France to give Savoir, a French marketing firm, an American perspective. The show follows her struggles in her workplace as she falls in love and has to face the cultural values of a country that is quite different from her conservative upbringing.

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Philippine Leroy-Beaulieu, Ashley Park, Lucas Bravo, Samuel Arnold, Bruno Gouery, Camille Razat, William Abadie, and Lucien Laviscount also star. 

Thus far, critics have not been impressed by the third season of 'Emily in Paris'. On the review aggregation site Rotten Tomatoes, the film holds a rating of 50 per cent. 

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Here are some of the reviews:

The Daily Telegraph's Anita Singh wrote, "The writers are stringing us along... because they know another series is in the bag. It’s lazy and will leave fans feeling short-changed."

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Rolling Stone's Alan Sepinwall said, "What once felt like a fun drift through a magical alternate universe, by Season Three, has come to feel like a stagnant decision that no one is willing to make."

The Wrap's Lauren Piester was more positive. "A protagonist doesn’t have to be likable, but she does have to be watchable, and Emily has been nearly unwatchable in the first two seasons. Now, she’s very watchable, mostly likable, and occasionally OK with taking a backseat in favor of her French friends and their increasingly complicated storylines. I personally will not be going back to rewatch the first two seasons of this show, but other fans might find it to be a really satisfying journey to see how Emily and her world have grown, and how much her French really has improved," she wrote. 

The Guardian's Rebecca Nicholson was also left impressed. She wrote, "After watching the second and third seasons in close succession I now know that Emily in Paris is horribly moreish. It doesn’t make a lot of sense, but it is so relentlessly chirpy it doesn’t really need to. The clothes are bright and hypnotically garish, to the extent that, like its ancestor Sex and the City, you just want a new episode to start so you can see what everyone is wearing. The plot lurches from melodrama to high farce – there’s a rumoured death and a hologram interlude, which, you know, go for it, why not – and whisper it, it’s actually quite fun. So fine, Emily in Paris, I give up. You win."

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