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34 C I N E M O N T A G E F E A T U R E something of a salve. Featuring a vibrant supporting cast including Philippine Le- roy-Beaulieu, Ashley Park, and Lucas Bravo, the series (from "Sex and the City" creator Darren Star) allowed viewers to vicariously accompany an American experiencing the wonders and curiosities of the City of Light. Culture clashes, expected and unex- pected, ensue. "I think people really got attached to it," said picture editor Alex Minnick, who edited the pilot and episodes through the first season. The second season, which is broken up into network-style 30-minute episodes, premiered in December on the streaming giant. Among the millions who were enchant- ed by "Emily in Paris" was picture editor Brian Ray, who joined the series for season two but became a fan during season one. "I had watched the show," Ray said. "I binged on it during COVID with my wife, and we loved it." Ray and his wife, who had previously visited Paris, appreciated the way that the series, which is shot on location, showed off all the usual landmarks plus many less- er-known nooks and crannies of the city. " E a c h c h a r a c t e r E m i l y m e e t s a n d interacts with unlocks a neighborhood or another part of Paris," Ray said. "Through the locations and writing, you get to experi- ence those new little pieces that make Paris a bigger place than you knew it was. [My wife and I] kind of geeked out on that and looked on maps where things were." Minnick, a veteran of the Star-created series "Younger," saw the possibilities of "Emily in Paris" from the inception of the show. "Right away, it was interesting that it wasn't on a stage, and they were shooting in so many locations," Minnick said. "It felt like the show just got bigger and bigger as more footage started coming in....It blos- somed, really, from the start." Picture editor Veronica Rutledge, who TRAINING DAY: Lily Collins in "Emily in Paris." P H OT O : N E T F L I X Brian Ray.