Ashley Park describes herself as a singing-and-dancing "yes" person who’s willing and excited to try new things and keep learning so she can achieve her dreams. And it’s most certainly not a coincidence that Mindy Chen, the character she’s played on Emily in Paris since 2020, exudes those very same traits.
"Maybe it’s something that came from playing her for five years," she says. "But I love that she’s similar to me. Her goal isn’t to be a famous pop star — she’s just so thrilled that she gets to do what she loves in any capacity."
To wit: Park still can’t believe she’s a part of Emily in Paris, the Emmy-nominated Netflix comedy series about Millennial self-discovery that unveiled its fifth season on December 18. "To be on a screen — let alone a hit show on Netflix for five seasons — wasn’t even in my capacity to imagine that dream for myself," says Park, who’s also appeared in Only Murders in the Building, Beef and Girls5eva. "When I graduated from the musical theater program at the University of Michigan, my goal was to just be in an ensemble of Broadway and say a line!"
Park actually went on to land a Tony nomination for originating the role of Gretchen Wieners in the Broadway adaptation of Mean Girls and star in The King and I and Sunday in the Park with George. And for this go-round of Emily in Paris, you better believe that Mindy — last seen triumphantly belting out the original song "Beautiful Ruins" on the fictional TV singing competition show Chinese Popstar — will once again show off her talents. "You’ll definitely see visual performances unlike anything else so far," she says, adding that she collaborated with costume designer Marylin Fitoussi on Mindy’s amazing fashion looks.
It's fitting that Park herself has a weakness for reality competition TV. "We all make mistakes in our lives, and we’re protagonists in our own story," she says, "So it’s very humbling to watch these contestants strive for a life-changing dream. It alleviates me from anything I may be stressed about." She picks her favorites in the genre, along with a few other fun series (including one she appeared in) for her My Seven Shows list for The Television Academy.
Friends (1994-04, NBC)
I actually had cancer in high school, and I spent eight months as an inpatient during my sophomore year of high school. For each round of chemo, I got obsessed with a new show. Friends was one of those shows. I didn’t watch it while it was coming out in real time, but I knew elements of it. Then I watched it from beginning to end, and I learned so much from watching the actors and the comedy. We don't really do these sitcoms in front of a live audience anymore, so it feels theatrical — except it's captured on screen. It’s also magical when a character lives honestly on the spine of the actor; it feels very genuine. That’s how I fell in love with Jennifer Aniston and Lisa Kudrow.
Arthur (1996-2022, PBS)
I never watched a PG-13 movie until I was past 13 because of my parents. I was very much a rule follower in that way. So, I grew up loving so many animated TV shows — like Arthur; I loved the lessons in it. I still know the theme song by heart — “Every day when you're walking down the street . . .” Whenever I hear it, I’m brought back to that specific first decade of my life. You know, I’m a Michigan girl. I have this wholesome Midwest quality to me; it’s this pure space in my personality. So when I’m honestly thinking about my favorite TV shows of all time, I have to name this one because it still makes me happy.
Survivor (2000-, CBS)
I was introduced to Survivor about six months ago. I watched Traitors and was like, "Who is this Boston Rob?" "Who is Parvati?" "Who is this Sandra lady?" "Why are these people so strict with their game play?" What is this 'Black Widow'" alliance? Then I realized they were all on Survivor. I thought the show was about eating bugs! So I watched all 48 seasons within three months. I loved that I could just binge and not have to wait for another episode!
I watched the whole story with Rob and [now-wife] Amber and how he kept coming back. And I filled in all the gaps on Traitors. Now I’m all caught up and will be watching a new episode tomorrow on my flight to Venice. If I have the time, I really want to have a Survivor-themed birthday party.
The Comeback (2005-, HBO)
I recently had friends that either auditioned for The Comeback’s upcoming third season or were cast in it. And I was like, Oh, what is this show? And I was blown away. I watched it so fast!
I have always been a fan of The Office and other mockumentaries. I think that Lisa Kudrow is doing the same thing that Ricky Gervais and Steve Carell were doing in their shows. It’s a master class in capturing every essence and humanity of a character that can be so flawed.
Top Chef (2006-, Bravo)
Oh my gosh, I feel like the only times I’ve been able to really binge and invest in TV is when I've been fatally ill! But I had sepsis at the beginning of last year, and Top Chef helped get me through it. I was in the ICU for at least a month, and it was at a time when I really couldn't eat or move or do anything. Seeing people be creative and strategic was really an escape.
And I’ll tell you: I was always so intimidated to be in the kitchen or cooking. Now, the kitchen has become one of my favorite places. It makes me feel creative and empowered and appreciate what I put into my body. Coming from the world of Broadway, I also appreciated that the show really opened up my eyes to how much work ethic and ambition goes into being a chef. I learned that industry can be humbling and taxing, too.
Veep (2012-19, HBO)
I learned a lot in high school about how the government works, but not like this! I thought it was so wonderful to see a woman like Julia Louis-Dreyfus embody a person who has so many qualities that were maybe not admirable — but so expertly nuanced that you knew the intention of that character. It let me hold up a mirror and be like, "Am I acting that way?" And it helped me realize I can't relate personally to working in the government, but, my gosh, I can relate to all of these interactions between different relationships and different work settings. Like, there’s something universal about what all of us are doing within our own homes and industries and workplaces.
Beef (2023-, Netflix)
When I read the script, I was like, "Oh, even if I wasn't in this, I'm so grateful this is going to be out there."
I grew up going to the Korean-American church, and while filming those scenes, I honestly thought that people weren’t going to understand this show and like it. I think I went to set every day and was like, "What's the tone of this?" Because my audition scene was, like, sitting for a coffee with [star and executive producer] Ali Wong and having a passive-aggressive conversation. Then all of a sudden, I'm in a zip-tie with someone being murdered in front of my eyes ["The Great Fabricator"].
I find Beef to be very similar to The White Lotus in that you can’t really put either one of them into a category. They’re both singular in their genres and tone, and how they use humor. It’s like they both created their own universe; I think that’s the reason why they’re both so successful.
This interview was edited for length and clarity.
Emily in Paris is now streaming on Netflix.
