Emily in Paris Season 5 has officially debuted on Netflix with a new record-low Rotten Tomatoes score, landing at just 56% from critics, the lowest the series has ever seen. While the score has since climbed slightly to 67% with more reviews, it still marks a significant drop from Season 4, which held a 68% rating.
The critical consensus points to a show that has lost its original spark, with reviewers noting that the glossy travel feel and fashion moments are no longer enough to carry the series through its fifth outing.
Many critics agree that Emily in Paris has become increasingly formulaic, recycling familiar tropes without adding much depth or innovation. The show continues to deliver escapism and style, but the storytelling is seen as tired and repetitive, with smaller rewards for viewers compared to earlier seasons.
TechRadar called it the “weakest entry yet,” criticizing the move to Rome as poorly handled and the romantic drama as increasingly hard to invest in. The location change was expected to refresh the series, but instead, it has left many feeling that the show is stuck in a rut, unable to evolve beyond its initial premise.
Fan Reactions: Romance, Friendship, and Continuity Flaws
The latest season has also sparked strong reactions from fans, particularly around the show’s new romantic arcs. One of the most controversial plotlines involves Mindy (Ashley Park) secretly starting a relationship with Alfie (Lucien Laviscount), Emily’s ex-boyfriend.
This twist has left viewers frustrated, with many calling it “too messy” and questioning the integrity of Emily and Mindy’s friendship, which was once a fan favorite.
The secret affair is seen as a breach of “girl code,” and the way it is handled has divided the fanbase, with some defending it as bold and others saying it damages the show’s emotional core.
Continuity errors have also become a talking point, with fans spotting blunders within the first few minutes of the premiere episode . One notable example is Lily Collins’ footwear changing mid-scene, a detail that has been pointed out on social media and Reddit.
Such mistakes have added to the sense that the show is losing its attention to detail, further frustrating loyal viewers who have stuck with Emily in Paris through its ups and downs.
Emily in Paris (Credit: Netflix)
Despite these criticisms, the series remains compulsively watchable for many. The episodes are short, the pacing is fast, and the stakes are low enough that it never feels burdensome to keep watching.
However, the lack of character growth and the constant focus on romantic drama over meaningful development have left some feeling that the show is more about spectacle than substance.
What’s Next for Emily In Paris?
With Season 5 underperforming both critically and among fans, questions are being raised about the future of Emily in Paris. The show’s creators have consistently leveraged its strengths: fashion, travel, and lighthearted romance.
The low Rotten Tomatoes score and fan backlash could signal a turning point for the franchise. If the show continues down its current path, it risks becoming a parody of itself, with style outweighing substance and drama lacking emotional impact.
On the other hand, the show’s enduring popularity and loyal fanbase suggest that there is still room for reinvention, provided the writers are willing to take bold new directions and address the concerns raised by critics and viewers alike.
For now, Emily in Paris Season 5 stands as a cautionary tale about the challenges of keeping a long-running series fresh and relevant. While the show continues to attract viewers with its glamorous visuals and romantic escapades, it will need to find new ways to connect with audiences if it wants to avoid fading into obscurity.
Netflix faces a storytelling beast with the Twilight animated series. Midnight Sun retells the first book’s romance from Edward Cullen’s viewpoint, packing his head with endless rants about bloodlust, self-hate, and Bella Swan’s obsession.
Without heavy voice-overs, the plot mirrors the original Twilight too closely, stripping away what makes Meyer’s 2020 novel fresh : raw peeks into a vampire’s tormented mind.
Picture this: Edward fantasizes about ripping apart classmates after smelling Bella’s blood, his thoughts a whirlwind of killer urges he barely fights back. Details like that explain his brooding stares and sudden vanishings, but they stay locked in his skull, unspoken to anyone.
Animation lets creators visually convey these dark daydreams, perhaps as shadowy flashes or twisted dream sequences, yet the core narration remains unavoidable. Fans point to shows like BoJack Horseman that nail voiceover when it fits character depth, but flop when it feels forced.
Telepathy amps the issue. Edward chats with his sister Alice via mind reads during cafeteria scenes, no words needed, while spying on family thoughts to shield Bella. Subtle nods or eye flicks won’t cut it on screen; viewers need his internal translations, or the Cullens look like silent weirdos.
Sinead Daly, the writer from Tell Me Lies, juggles this as executive producer, with Stephenie Meyer overseeing to keep the vampire angst authentic. Success hinges on witty delivery, turning potential cheese into addictive insight.
Cast Lockout Drama: Old Cullens Get the Cold Shoulder
Twilight’s live-action stars pitched themselves for the reboot, only to hit a brick wall. Actors like Jackson Rathbone (Jasper), Ashley Greene (Alice), Peter Facinelli (Carlisle), and Kellan Lutz (Emmett) learned about the project through fan buzz and convention chats, then rallied agents for voice roles.
They argued their tones hold up fine for animation, no aging issues since no faces appear, and offered fan-service returns without big pay demands. Netflix and Lionsgate said no, not even auditions.
Greene nailed the frustration: voices stay young, yet producers want a clean slate. Facinelli called it a nostalgia killer, comparing it to watching the wrong Grinch version with his kid, nails-on-chalkboard vibes for originals. Rathbone laughed off the rejection after spotting audition sides from another actress at a con.
Twilight (Credit: Netflix)
Money likely factors in; Robert Pattinson and Kristen Stewart command top dollar now, post their post-Twilight booms, making full recasts pricey amid animation budgets.
This fuels fan splits online. Reddit threads dream up voices like Timothée Chalamet for Edward , praising fresh takes, while others mourn Pattinson’s brooding perfection.
No leads confirmed yet, but the snub echoes Scott Pilgrim Takes Off, where Netflix lured back the whole film cast for anime glory. Twilight skips that, betting new talent captures Edward’s tortured charm without baggage.
Camp Factor Clash: Modern Eyes on Vampire Stalker Vibes
Animation gives Netflix the freedom to crank Twilight’s absurdity. Vampires sparkle like diamonds in sunlight? Render it bold, fiery glows, impossible live-action. Edward, slurping Bella’s tears or plotting classroom massacres? Animate the gore and weirdness without CGI limits.
Midnight Sun spotlights his 100-year self-loathing, constant “monster” loops justifying why he resists turning her. Lean into camp, and voiceover becomes quirky charm, not drag.
Yet Edward’s core screams red flags today. He spies on sleeping Bella pre-crush, sparks jealousy over her Jacob friendship, and strands her in the woods to “test” danger.
Midnight Sun contextualizes via blood haze overwhelming his brain, her mind the one blank to his powers, but 2025 viewers demand consent chats or growth arcs. Shows like Arcane blend fantasy romance with real talk; Twilight could too, softening stalker traits into protective instincts minus the creep.
Fan reactions mix hype and worry. Nostalgia surges with Twilight’s 25th book bash and movies streaming on Netflix, but reboots flop, copying magic. Greene warned of “secret sauce” loss in animation shifts. Meyer stays executive producer, hinting at fidelity to her Edward blueprint.
A mid-2026 drop seems likely post-script finishes, per production norms. If handled right, this hurdles the hurdles, reviving sparkles for Gen Z without alienating OGs.
