The reviews are starting to come in for the new season of Emily In Paris on Netflix – and to say they’re not all positive would be an understatement.

Lily Collins returns as the title character – Emily Cooper – a young American woman from the Midwest who uproots her life and takes a new job in Paris.

With Season 4 debuting on Thursday – and the L.A. premiere happening on Wednesday – the reviews are starting to file in, many of which are not positive.

The show returns after a two-year hiatus, though that wait wasn’t seemingly long enough for some critics, who savagely bashed the show.

A review from Leila Latif of The Guardian was perhaps the most brutal, calling the show a ‘televisual black hole’ that is, ‘devoid of plot, charisma and intrigue.’

The reviews are starting to come in for the new season of Emily In Paris on Netflix , and they are not all that positive.

Lily Collins returns as the title character – Emily Cooper – a young American woman from the Midwest who uproots her life and takes a new job in Paris.

The critic revealed she had viewed the first half of Season 4 – which debut on August 15 – with the second five-episode half dropping on September 12.

She insists that, ‘nothing happens,’ as the title character continues working as a marketing executive while getting involved in a love triangle with her co-worker Luc (Bruno Gouery) and roommate Mindy (Ashley Park).

The reviewer insists there is, ‘absolutely nothing at stake’ when it comes to the love triangle, with the ‘drama’ in the show coming from her professional life, though that appears to be a stretch too.

‘In every episode, she has to use her talent and sunny disposition to ensure social media strategies are executed with aplomb. To say that this is as thrilling as watching paint dry would be a disservice to the many excellent shades of paint,’ she says.

The critic adds there are several subplots involving, ‘missing people, #MeToo and Michelin stars,’ though they ultimately, ‘go nowhere.’

Another review from the Irish Independent was equally savage, calling this show’s version of Paris, ‘a theme park version of the City of Light.’

He touches on the show’s running gag that Emily does not speak French and even after four seasons makes no effort to learn the language, and yet everyone in Paris seems to love her, which would likely not be the case in the real Paris.

‘If this were the real Paris rather than a theme park version, Emily would get on everyone’s nerves. Instead, they all find her cute and adorable. Irresistible, too. Men fall at her feet on every street corner,’ critic Pat Stacey says.

The critic revealed she had viewed the first half of Season 4 – which debut on August 15 – with the second five-episode half dropping on September 12

She insists that, ‘nothing happens,’ as the title character continues working as a marketing executive while getting involved in a love triangle with her co-worker Luc (Bruno Gouery) and roommate Mindy (Ashley Park)

The reviewer insists there is, ‘absolutely nothing at stake’ when it comes to the love triangle, with the ‘drama’ in the show coming from her professional life, though that appears to be a stretch too

Another point of contention in this review is how the show ignores the city’s racial and cultural diversity, adding, ‘this fantasy Paris is as whitewashed as Richard Curtis’s Notting Hill.’

However, another piece from The Guardian’s Joel Golby – while admitting the show is ‘terrible’ – thinks the time has come to ‘drop the beef’ with the show.

‘The point of Emily in Paris is that it isn’t for me – it’s not even particularly for people who are sitting upright – and once you see through all of that, you can: well, “enjoy” is not the right word, exactly. But you can at least appreciate Emily in Paris for what it is, which is: an unashamedly silly, soapy, Technicolor whirlwind of nonsense,’ he said.

‘It’s a make-work programme for beautiful people who can’t act and a show where, 30 episodes in and with 10 more pending, nothing significant has actually happened,’ he adds, though he realizes he’s ‘re-igniting’ his ‘beef’ after reflecting more, concluding, ‘It is beneath every single person who has ever watched it.’

Meanwhile Paste Magazine’s Jay Snow claimed that the new series ‘continues to have nothing new to say’.

Sinking their claws into Emily and Gabriel’s romance scenes, they wrote: ‘They can drag out the Emily and Gabriel romance as long as they like, but, so far, it has done nothing except stunt the story and character growth.

‘Unless there’s a major change coming after this season, it might be time to say “au revoir” to Emily and company.’

The Independent critic Katie Rosseinsky took issue with Netflix’s decision to split the series in half.

‘The decision to split the series in half makes even less sense for Emily and co than it did for Bridgerton: at least the latter’s writers had the good sense to conclude part one on a cliffhanger. This batch of episodes, by comparison, ends with a Gallic shrug.’

She brutally signed off: ‘While the show’s silliness has a certain limited charm, the cumulative effect is akin to eating too much sugar too quickly: it leaves you feeling a bit queasy and vowing to swear off this stuff in future.’

Fans of the new series gushed that it was ‘self-aware, stunning and adorable’ in their reviews

The show continues  to inspire audiences with protagonist Emily’s painfully chic ensembles

The series remains one of Netflix’s most popular ever romcoms with the ongoing love triangle leaving viewers gripped

However other critics were fonder of the latest drop of episodes and showered them with praise.

Over at The Daily Beast Emma Stefansky heralded season four as ‘absurdly and adorably idiotic.

‘It’s as entertaining as anything else the show has cooked up,’ she said of the new plotlines.

‘I don’t pretend to know anything about fashion, and I certainly won’t learn anything from this particular show, but it’s always fun to see the wardrobe department going full-out on something like this while other shows dress their cast in a sea of crewnecks and black trousers.’

Collider’s Emily Cappello called the show’s return ‘stunning and self-aware… a fashionable ride through the streets of Paris.’

She noted that in season four Emily finally ‘explored her need for control and embraced her vulnerability.

She also praised the new episodes for letting Sylvie shine, claiming there was more space and weight given to her ‘realistic and throught-provoking internal conflicts.’

Meanwhile The Times’ Robert Crampton gushed: ‘When the writing’s as good as this, you can’t dismiss Darren Star’s show as mere fantasy fluff’,