The Netflix show tells us exactly what TV producers think of young women: all mermaid curls, no brains
For what felt like ages I held out against watching Emily in Paris (2020). As an American in Paris I loathe the stereotype of the American in Paris, and only relented when BBC Scotland 70城房价涨幅连续10个月收窄. Ah, I thought. A chance to tell the world – or, well, Scotland – how much I loathe this stereotype.
I’m only mildly embarrassed to admit I watched the whole show in two nights. I may even have giggled at a few of the jokes, and sighed at some views of Paris, even though Paris is right outside my door. ‘Paris of the mind is preferable to the real thing,’ as Moyra Davey once wrote. But once I’d left the bubble of pleasure the show created, I was left with a hangover of ambivalence.
The writing is objectively terrible; it feels like it was written by a scattershot team consisting of The One With the Jokes, The Hack, and The One Who Went to Paris Once. The Hack is responsible for all the flat-footed dialogue (“you’re not stepping on my toes, you’re stepping into my shoes!”), coming up with lines like Carrie Bradshaw at her punniest (“I’m petit mort-ified!”). The Funny One is, occasionally, very funny (see the vagin jeune storyline). And The One Who Went to Paris Once must be responsible for the white-washing of the city, the xenophobia towards the French, the unflinching commitment to being as ringarde as possible, and no that does not mean basic.
But what rankled about the show, I realized, isn’t all it gets wrong about France and the French – this is fantasy, not Italian neorealismo. It’s the show’s limited and, yes, misogynist conception of who Emily is, and who it allows her to be.
There is an element of Everywomanness to her. She is hard-working, plucky, and resourceful when faced with challenges and trials, and doesn’t have any inconvenient special talents like, I don’t know, speaking French to get in the way of the target audience identifying with her. Like Christian in The Pilgrim’s Progress, she’s your average questing hero(ine). But where John Bunyan’s seventeenth-century religious allegory wonders if salvation exists, and if so, how can we attain it, in the world of Emily in Paris, redemption comes in the form of Instagram followers and bank. “Beyoncé’s worth far more than the Mona Lisa,” quips her best friend, approvingly. Paris is the City of Destruction and the Celestial City all at once.
According to a report by Beijing Statistics Bureau, retail sales of consumer goods in the Chinese capital surpassed 1 trillion yuan ($152 billion) in 2015, up 7.3 percent year on year.
The import side of the equation fared worse in both renminbi- and dollar-terms.
The other issue with tanking is Philly, Phoenix, and Brooklyn are all bad teams. It's going to be hard to outflank those outfits.
This is all bad news for investors, just as America's 30-year bond bull is ending.
Actuaries put a financial value on risk for instance, the chances of a hurricane destroying a beachfront home or the long-term liabilities of a pension system. In a world awash with risks of the natural and manmade variety, the profession is booming, says Tony Lee, publisher of CareerCast.com. In addition, he says, 'there's a severe shortage of actuaries, ' so wages are rising. (The median salary for actuaries in 2010 was $87, 650, according to the Labor Department.)
The block chain has such rich potential that there is an initiative underway to create additional “side chains,” though there is controversy around that idea. “We don’t really want to mess with the main block chain right now,” says Adam Ludwin, CEO of Chain, a block chain API that makes it easier to create bitcoin applications. “It works, we don’t want to break it.”
Written instructions apparently issued by China’s tourism administration, shown to the FT by one Beijing travel agent, order agencies to cancel group tours to South Korea booked for after March 15 and add that companies not in compliance could be fined or have their licences revoked. The tourism administration was not immediately available for comment.
Yet like a good comic hero, Emily is also somehow worse than us: witness the many people online complaining that she is, in fact, not relatable; she is ‘arrogant,’ ‘annoying,’ ‘entitled.’ She is these things, it’s true, but all these people on the internet, schooling Emily in how not to be a terrible obnoxious unlikable person reminds me of what the literary scholar Patricia Meyer Spacks wrote about gossip: that it’s society’s way of regulating itself and determining what is acceptable. So is, apparently, amateur TV criticism.
The improvements in education levels mirrored the development of China's education system. Independent research into China's education situation showed that overall education development was better than the world average last year, Yuan Guiren, minister of education, said in March.
Similar to quick LinkedIn overhauling, Foss says employers will likely notice if you abruptly go from tweeting cat GIFs and "Game of Thrones" spoilers to posting thoughtful, industry-focused content and participating in job-search Twitter chats. These are generally good moves for your job search, but bad ones for keeping it under wraps, so again, take it slow。
I'm going to disagree on one team you mentioned: the Kings. The West is a bit shallow again, and Sacramento is in the mix for a playoff spot. It's not likely or anything, but so long as they are in the mix, they have to pull out almost all the stops to grab it.
In their blatant careening towards the monaaaaaaay that such a show might be expected to generate, Emily in Paris’s producers have demonstrated that they don’t give a fine fuck about writing, characterisation, interior life. (Don’t get me wrong: this isn’t some Forsterian diatribe about round or flat characters. That’s the domain of amateur TV critics.) What they do seem to care about is building the perfect woman, and then tearing her down.
As I watched the show, I kept thinking of Hilary Mantel’s 2013 lecture for the London Review of Books about Kate Middleton and the ‘royal body’. The Duchess of Cambridge, Mantel said, ‘appeared to have been designed by a committee and built by craftsmen, with a perfect plastic smile and the spindles of her limbs hand-turned and gloss-varnished.’ With her perfect abs and immobile mermaid waves, Emily, more so even than Middleton, who is, let’s not forget, a real person, actually has been designed by committee, not to continue the royal line but to sustain the franchise.
On the radio they asked me if I identified with Emily at all and I said uhhhh for what felt like forever in radio time, before saying no, no, not at all. Because when I moved here I wasn’t anything like Emily; not only had I learned French at school, I had a few more notions of Normandy beyond Saving Private Ryan (1998). When I moved here, there were no smart phones, no Instagram, and the American in Paris narrative was about coming here and doing something creative – writing, painting, dancing, whatever – not making sales pitches like Don Draper in stilettos. But I can’t deny our commonalities.
I have a lot of sympathy for the American girl abroad. I’ve been her, I’ve taught her, I occasionally hear from her, reaching out for help finding her feet. But on Emily in Paris, she’s another version of the jeune fille, the young girl, whom everyone feels authorised to hate. Think of every teenage girl on television, with few exceptions – they’re all whiny and intransigent and bothered, and we never really know why. The radical French philosophy collective Tiqqun published a polemic in 1999 called Preliminary Materials for a Theory of the Young Girl, which reads her as the ultimate consumer: when she thinks she’s expressing herself she’s only expressing commodity culture; she has no depth, no intimate reserves, she is all Spectacle.
The young girl is not a gendered concept, but ‘the model citizen as redefined by consumer society since the First World War, in explicit response to the revolutionary menace.’ Although the terms in which Tiqqun make their argument are deeply sexist, their essential point holds: we are all young girls under the capitalist patriarchy. But the young girl herself, the actual gendered young female human animal, is always rife for exploitation, not least by Tiqqun.
In her recent book Females (2019), Andrea Long Chu echoes this argument (though in markedly un-misogynist terms), choosing to put it this way:
So the messaging apps have gotten creative. Tango, for example, inserts ads within a user’s messaging “inbox.” WeChat, a popular Chinese app that is owned by Tencent, makes money through games, stickers (which are similar to emojis), and mobile commerce. Kik offers a feature that some are calling “chatvertising,” where users hold conversations with chat-bots powered by brands like Funny or Die and Moviefone.
Scott Brooks gets leeway as he learns his roster, and injuries continue to play too big a role. But I just can't fathom why this team is so much worse than the playoff team from a couple years back. The other piece is that it's unlikely the Wizards can conceivably be bad enough to get a top-five pick.
The jeune fille is all of us, but when she becomes the star of the show she’s none of us – just a skinny body on which to project our fucked-up ideas about beauty and female behaviour. Emily in Paris is a missed opportunity to say something real, for instance, about being a foreigner – an experience it would behove Americans to experience from time to time. (To wit: that early scene where Emily’s normcore boyfriend holds up his brand-new passport saying ‘Look what I got!’) It is difficult to move to a foreign country, especially to a city as notoriously closed-off as Paris, and really, genuinely lonely, in a way the show doesn’t make room for. It is soul-crushing to find yourself rejected for the very compliance that, back home, you believed made you valued and loved.
I’m angry that when the producers decided to tell the story of a young woman, they declined to give her a more textured existence. That they ask her to speak not French, but a dead, prefabricated English: fake it ’til you make it. At one point someone accuses her of being arrogant. ‘More ignorant than arrogant,’ she says, sadly. Why does she have to be ignorant? I groaned at my computer. Because that’s what the producers think of young women: all mermaid curls, no brains.
"He (Premier Wen) underlined that China effectively countered the severe impact of the global financial crisis and has maintained steady and fast economic development. This allowed China to become the second-largest economy, almost doubling its GDP in five years."
Make your classes your highest priority.
Gabriel: Well, there’s just one problem.
Emily: What’s that.
Gabriel: I like you.
三月四日在好莱坞高地中心Mary J. Blige, Miguel, Gael García Bernal, Andra Day, Natalia LaFourcade, Keala Settle, Sufjan Stevens and Common将会演唱自己的原创歌曲来庆贺第90届奥斯卡。
“From one son of the South and sports fanatic to another, my hat’s off to you,” tweeted Bill Clinton, the former US president, in response to the article.
14) When socializing, I don't find the right things to talk about 0 1 2 3 4