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 北京完成第一笔在线办理动产抵押登记. 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.
China’s tourism administration issued a notice on Friday confirming reports that Chinese travellers had been denied entry to South Korea’s Jeju island in recent months for holding incomplete travel documentation. It reminded citizens to “select travel destinations with caution”.
Summly attempts to solve this problem by creating “snapshots” of stories that allow readers to browse more quickly than reading full articles. The app will close down but Mr D’Aloisio’s technology will be integrated into Yahoo’s mobile apps.
“That’s the difference between tweeting from your couch and governing the country. If you govern the country, you have to take sensible decisions, and that isn’t sensible,” Mr Rutte replied.
Many believe the population is no longer a major threat to China's resources and environment. Instead, China's population challenges have shifted to low birth rates, an aging society and a widening gender imbalance. China has already experienced a shortage of skilled workers in places like the Pearl River Delta, so it might not be long before we see major reforms.
For: Strong reviews, and praise for the performances - particularly from the children at the centre of the story, and Willem Dafoe, who plays the manager of the motel where they live.
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 overall 2018 ranking encompasses more schools than ever before – 1,250 universities located across 74 countries. This is an increase from the 1,000 schools in 65 countries included in last year's edition.
4. 《卡罗尔》(Carol)。这是托德·海因斯(Todd Haynes)第一次执导不由自己编剧的影片，编剧菲丽丝·奈吉(Phyllis Nagy)简化了派翠西亚·海史密斯(Patricia Highsmith)的小说原著，海因斯藉此再次证明，电影导演不必依靠拍自己亲自写的剧本才能成为伟大导演，这个真理却遭到许多雄心勃勃或功成名就的导演忽略。
Ahh, the glamorous life of AT&T: best friends with Steve Jobs, exclusive rights to the iPhone (for now) and carrier of choice on the iPad. So why, with everything going for it, did the stock miss a huge rally? In the year ending April 1, Apple soared 109% and the S&P 500 rose 41%. AT&T? Down 2%. The problem is growth, or lack thereof: little in its saturated wireless business and a decline in landlines, which still accounts for 25% of sales. Unless its high-speed Internet business takes off or the iPad drives new wireless growth, the beatings by Wall Street will continue.
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:
But the change in Wall Street’s — and Silicon Valley’s — appreciation of Mr Cook is down to more than just the 70m iPhones Apple is expected to sell this quarter or the $42bn in sales generated in the previous.
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.
But the struggle for white identity is not just a political problem; it is about the “deep story” of feeling stuck while others move forward.
Warm hearted wishes for a happy New Year filled with all your favorite things.
However it's framed, 2018 was a strong year for many of China's biggest domestic film studios though.
Gabriel: Well, there’s just one problem.
Emily: What’s that.
Gabriel: I like you.
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“The impact of lower prices on the slide in profits is worsening,” he said.
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Not only does its small cohort of about 50 allow the school to select highly experienced participants, it also creates a strong bond between them.
Among dozens of small, technology-focused acquisitions, the $3bn purchase of Beats Electronics, the celebrity-endorsed headphones and music streaming service, stands out as Apple’s largest ever deal. The acquisition still bemuses many Apple analysts, but in Jimmy Iovine and Dr Dre, Beats’ founders, Mr Cook has instantly regained credibility with the music industry after years of neglecting the iTunes download store. If Mr Cook is guilty of missing the rapid growth of subscription services such as Spotify, he has moved swiftly to compensate for it — though for a high price.