Lily Collins Has Found ‘Emily 2.0’ in Paris 

This image released by Netflix shows Lily Collins in a scene from "Emily in Paris." (Stephanie Branchu/Netflix via AP)
This image released by Netflix shows Lily Collins in a scene from "Emily in Paris." (Stephanie Branchu/Netflix via AP)
TT

Lily Collins Has Found ‘Emily 2.0’ in Paris 

This image released by Netflix shows Lily Collins in a scene from "Emily in Paris." (Stephanie Branchu/Netflix via AP)
This image released by Netflix shows Lily Collins in a scene from "Emily in Paris." (Stephanie Branchu/Netflix via AP)

The new season of “Emily in Paris” will have many of the same elements as the first three: daring fashion, flirty romance and workplace drama. One thing that has changed? The lead actor’s confidence.

Lily Collins, who plays Emily Cooper, said her life has mirrored her character’s growth since the series premiered in 2020.

“Walking onto set season four, I was a different person than walking onto set season one,” Collins said in a recent interview with The Associated Press. “I’m a more well-rounded and understanding human in this space now because of the show.”

In addition to starring in the series, Collins produces it. The first season marked her first producing gig, and she’s taken on several other projects since.

“With the growth of Emily, there’s come a real growth in myself within my role as an actor, but also as a producer,” she said. “Being so collaborative with the writers and Darren (Star, series creator) and the other producers on this and having a voice on the show has really given me the confidence with other projects out there to do the same or want the same.”

The upcoming fourth season follows Emily untangling a messy love triangle, but she’s in a more stable place professionally than when we first saw her struggling to fit in at her new job in a new country. Even her French has improved as the series went on. Collins said some of her character’s self-assurance has rubbed off on her.

“I’ve grown more confident as Emily, but also with Lily. I’m asking deeper questions about the entire project, more so than I would’ve season one,” she said. “They’re not just about aesthetics anymore, it’s about the core values of the show and how to change things and how to bring new ideas to the table.”

Some of those new ideas include adapting Emily’s headline-making wardrobe with each season, a process that Collins said required two eight-hour fittings. She said they broke their own record by securing 82 looks for the fourth season.

The costuming, by designer Marylin Fitoussi, is a crucial part of the story, showing Emily’s evolution from an expat sporting looks emblazoned with the Eiffel Tower to outfits more like that of an authentic Parisian woman. But the costuming is also a crucial part of Collins’ process of stepping back into Emily’s shoes — both literally and figuratively.

“It’s the best way for me to start to feel like Emily again, but Emily 2.0,” Collins said. “We really do tell a story with clothing in this.”

Collins said at Wednesday’s premiere that the depth of Emily’s character has been a rewarding part of the process for her, especially in seeing how fans connect with Emily or are inspired by her.

“It means the world,” Collins said. “I love playing a woman who’s unapologetically herself and loves to work, and that’s a positive thing, and that she’s still struggling to find a work-life balance because I think that you’re always trying to find what works for you. So not having it together all the time is actually an OK thing, and I love playing a character that celebrates that.”

The fourth season of the show, which premieres its first half on Thursday, has been hotly anticipated among its growing fanbase since the third season was released two years ago. Netflix has yet to renew the series for a fifth season but Star, known for “Sex and the City” and “Beverly Hills, 90210,” said he thinks the audience and popularity are only growing with time.

“It’s not like it was a product of the pandemic and people not being able to travel so they liked to watch Paris on the screen. They can travel now and the show’s increased in popularity and, in fact, it encourages people to travel, which was my biggest dream of the show,” he said.

Even with his belief in the series, Star said it’s always “gratifying” when audiences respond well to the final product. As a veteran in the television world, Star knows audiences’ reception and viewership can be unpredictable.

“You just can never, ever know how the audience is going to respond and what the outcome’s going to be, so I just really get mostly attached to the process and feeling happy about the season,” he said. “I’m really happy about this season, I hope the audience loves it.”



Movie Review: Mark Wahlberg and Halle Berry Lead a Middling Spy Comedy in ‘The Union’

 Mark Wahlberg, left, and Halle Berry, cast members in "The Union," pose together at the premiere of the Netflix film at the Egyptian Theatre, Monday, Aug. 12, 2024, in Los Angeles. (AP)
Mark Wahlberg, left, and Halle Berry, cast members in "The Union," pose together at the premiere of the Netflix film at the Egyptian Theatre, Monday, Aug. 12, 2024, in Los Angeles. (AP)
TT

Movie Review: Mark Wahlberg and Halle Berry Lead a Middling Spy Comedy in ‘The Union’

 Mark Wahlberg, left, and Halle Berry, cast members in "The Union," pose together at the premiere of the Netflix film at the Egyptian Theatre, Monday, Aug. 12, 2024, in Los Angeles. (AP)
Mark Wahlberg, left, and Halle Berry, cast members in "The Union," pose together at the premiere of the Netflix film at the Egyptian Theatre, Monday, Aug. 12, 2024, in Los Angeles. (AP)

“The Union,” an action comedy with Mark Wahlberg and Halle Berry, should have been more fun. Or more exciting. It certainly had a lot working in its favor, including big stars and a budget for globetrotting. But it’s lacking a certain charm that could help it be something more than the Netflix movie playing in the background.

“The Union,” streaming Friday, is a fairy tale — a very male one, about a middle-aged everyman (Wahlberg) whose life never quite got started and who gets recruited to be a spy out of the blue. Mike is a broke construction worker still living in his hometown of Patterson, New Jersey (yes, there are Springsteen songs) with his mother and hanging with his old friends in bars.

That’s all to say that for Mike, it is a breath of fresh air when his old high school girlfriend Roxanne (Berry), walks into the bar one evening looking like a punk-rock superhero in a leather motorcycle jacket. Glamorous and confident and never bothered by the flop of hair getting in her eyes, she has clearly found a life outside Patterson.

The problem, or a problem, I think, is that we already know what she does. Instead of putting the audience in Mike’s shoes, as the fish out of water trying to figure out why he’s woken up in a luxury suite in London after meeting his high school ex in his hometown bar, “The Union” starts on Roxanne. It begins with a kind of “Mission: Impossible”-style extraction gone wrong, in Trieste, Italy, where most of her team ends up dead. She decides that they need some working class grit to reboot.

The idea for the movie came from Stephen Levinson, Wahlberg’s longtime business partner, who together helped bring another middle-of-the-road Netflix action-comedy to life in “Spenser Confidential.” It's directed very basically by Julian Farino, a journeyman who helmed many episodes of “Entourage,” and written by Joe Barton and David Guggenheim. And there is a sort of charming fantasy about the notion that anyone could be a moderately successful international spy given the opportunity and a few weeks of training. In the movies, women get to find out they’re secret royalty and men get to find out they’re secretly great spies.

But “The Union” never quite hits its stride tonally. It’s not silly enough to be a comedy, though I think that’s what it would prefer to be. J.K. Simmons is given too little to work with as the head of this secret agency, which also employs underwritten characters played by Jackie Earle Haley, Adewale Akinnuoye-Agbaje and Alice Lee. One of the more moderately successful running jokes is that Mike’s undercover character is from Boston (get it?). A hulking English henchman even has a heart-to-heart with him about “Good Will Hunting.”

Berry and Wahlberg are fine together, with an easy rapport, but zero chemistry. This would not be problem if the movie wasn’t also trying to be a will-they-won’t-they romance between a woman who forgot her roots and a guy who needs to. I never quite bought into the idea that either of them are actually still thinking about their high school relationship and what went wrong. There’s been a lot of life in the interim to dwell on decisions you made at 17. Not everyone can be Cary Grant and Katharine Hepburn, or even Helen Hunt and Bill Paxton – but maybe in this case the story should have changed to serve its actors better.

That's a nitpick for something with much larger problems. And ultimately “The Union” suffers the fate of many high-priced streaming movies before it: There’s just not enough there — action, comedy, romance, art — to demand (or, rather, earn) your full attention.