It's time to pull the plug on Emily's insipid adventures

Minnie Driver brings a much-needed injection of camp self-awareness to the fifth season of 'Emily in Paris' - but she still can't save this sterile show from itself says Katie Rosseinsky

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And so, as the fifth series of Netflix's Emily in Paris inevitably rolls around just in time to become the backdrop to millions of festive hangovers, our plucky American marketeer continues her European voyage of self-discovery, like a BookTok ripoff of a Henry James heroine. Paris? So last season. Now Lily Collins's outlandishly dressed, immaculately power-bobbed Emily is set on conquering the Italian capital.

Collins, it has been noted many times, does bear a striking resemblance to Audrey Hepburn (one scene in which she runs behind a bus to chase after a misplaced silk scarf reminded me of that uncanny valley Galaxy chocolate advert from a few years ago, featuring a CGI Hepburn, which speaks volumes about how strangely sterile this show still feels).

But this is no Roman Holiday for our girl. Emily - for reasons that, thanks to the series' amnesiac quality, it is initially impossible to remember - has ended up here to head up the Italian outpost of Agence Grateau, the marketing company owned by her boss Sylvie (Philippine Leroy-Beaulieu, still très chic, still mildly terrifying).