The show affords epistemological priority to Emily by focusing on her enchanting romantic dramas, sure, but it also lingers on sequences where French people berate her for being corny and basic, suggesting a degree of cultural self-awareness even where it threatens to alienate viewers who might see themselves in the protagonist. Even Emily’s dutiful, dead-eyed preoccupation with virality and marketing analytics mirrors Netflix’s obsession with its own growth. It is as if TV finally looked at itself and made the hollow conditions of its own reception an active plot point, the way novels in the ’60s started to incorporate literary critics as characters.