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When Page Six asked the infamous Field to share her favorite outfit in season two, she replied: \u201C[Emily] takes the railroad from Paris to the French Riviera, and gets off the train and she\u2019s wearing this silk coat\u2014really pretty, with a light print on it\u2014and the white fingerless gloves. I was really happy with it.\u201D It\u2019s unconfirmed whether Field was intentionally plugging her glove collection here (almost certainly) or if the gloves were simply featured so heavily in the season that it was almost impossible not to plug them (also true), but the effect, of course, was the same. And after completing season two, released over the holidays, I believe this is precisely the genius\u2014which is to say, the depravity\u2014of the show itself. It\u2019s impossible to disentangle Emily in Paris from its marketing, or even from marketing as a general concept.

Of course, you don\u2019t have to \u201Cbelieve\u201D in marketing to recognize its permeation into nearly every aspect of modern life. But Emily in Paris does more than dip that notion in sugar; it imagines an alternative universe in which marketing is not a nefarious, overreaching presence in our lives, but a conduit for infinite possibility\u2014even a force for good. In Emily\u2019s world, advertising campaigns are never cynical or tricky or market-tested; they\u2019re aha! moments, a twinkle in the eye of a skinny 24-year-old in an unconvincing wig. Her designer clothes don\u2019t advertise her class position; they\u2019re a quirk of personality. As if acting in a commercial for Instagram, Emily\u2019s use of the app only barely interrupts her life or work: photos are snapped once, captions are written with a flick of the leather-gloved wrist. And her resultant digital fame never translates to time wasted scrolling, or fretting about her perception, or dealing with trolls. If a good story is defined by tension and release, the tension of Emily in Paris is never more than a good PR spin away from release. About that fact, it\u2019s never cynical.