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An American in Paris Watches ‘Emily in Paris’

Courtesy Netflix

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 何立峰:中国经济总体平稳、稳中有变、变中有忧. 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.

Courtesy Netflix

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.

上赛季的封王对勇士队球迷来说是一种缓解,毕竟他们前一年经历了总决赛史上最严重的崩盘。尽管如此,但整个系列赛的感觉还是“是的,这是应该发生的。”。几乎没有什么戏剧性的事情,也没有什么争论,最后,大家都预料到会发生什么。不会引起太多谈话或兴趣,它就是这样的。
As the stars' private jets swooped in, the internet was going mad for 'the Dad bod'; the slightly flabby male physique was trending and there were plenty of examples on screen. Deborah Cole of AFP noted a “sweating, panting and shirtless” Gerard Depardieu in Valley of Love and a flash of Joaquin Phoenix's “tubby tummy” in Woody Allen's Irrational Man. When Colin Farrell strode the red carpet for the premiere of The Lobster, he looked his usual trim self – but in the film he is distinctly paunchy. To add some girth for the role of a lonely singleton in Yorgos Lanthimos' absurdist black comedy, Farrell went on a massively calorific diet that included drinking melted ice cream, he told the Hollywood Reporter. Eating “two cheeseburgers, fries and Coca-Colas, and two slices of chocolate cake at 10am is not that fun,” he said. “And I love cheese?burgers."
4. 《狗心》(Heart of a Dog),导演:劳瑞·安德森(Laurie Anderson)。
"The online Internet anti-corruption bid mostly relies on text, photos and videos and it is easy to be superficial if corrupt officials are only exposed this way."
201001/94005.shtml【英文原文】
毕业3年后的平均薪资和薪资涨幅是主要的标准,各自占到排行榜权重的20%。在排名前25名的商学院当中,大多在这些标准中至少有一项得分较高。如果去掉平均薪资和薪资涨幅这两项标准,排名前十的商学院大多仍排名前十。只有南洋商学院(Nanyang Business School)和中欧国际工商学院(China Europe International Business School)例外,它们在博士和研究这一项上表现不佳。
In a statement given to the website Kotaku, Epic Games said the lawsuit was a result of Mr Rogers "filing a DMCA counterclaim to a takedown notice on a YouTube video that exposed and promoted Fortnite Battle Royale cheats and exploits."
担忧、紧张、抑郁和愤怒等负面情绪更常在D型人格的人身上体现。一件常常被他人忽视的小事就可能让D型人格的人烦恼,甚至会破坏他的心情。
v
艾伦·狄珍妮丝
n. 紧张,压力
Import growth lifted year-on-year to a pace of 17.7 per cent for the period, up from 17.2 per cent a month earlier and beating an expected rate of 11.3 per cent.

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.

Courtesy Netflix

“疲软的国内需求和大宗商品价格下跌继续拖累中国的进口增长,”澳新银行(ANZ bank)经济学家刘利刚表示。“展望未来,中国的出口行业仍将面临一些重大不利因素。”
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2.别迷恋哥,哥只是个传说。
Accounting and finance grads will be in demand too, the poll says. Note to college students already looking ahead to the summer: 52% of employers in the survey said they prefer to hire graduates with internship experience.
审校:赵倩 来源:前十网
To Craig Bennett, Abigail Baird, Michael Miller, and George Wolford for demonstrating that brain researchers, using a combination of complicated equipment and simple statistics, can find meaningful brain activity anywhere, even in a dead fish.
Among the 772 movies made in China in 2016, 43 of them reached a box office of over 100 million yuan. Chinese movies harvested an overseas box office of 3.8 billion yuan in 2016 with a yearly increase of over 38%.

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.

Courtesy Netflix

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:

以下是CareerCast公布的完整榜单:
Among the top 10, four of them -- Pony Ma, Jack Ma, Ding Lei (CEO of Chinese game developer NetEase Inc) and Lei Jun (founder of smartphone maker Xiaoxi) -- are from TMT (telecommunications, media and technology) sectors.
There was no indication of the identity of the kidnappers or their motive.

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.

Courtesy Netflix

Now that Chris and his girlfriend, Rose, have reached the meet-the-parents milestone of dating, she invites him for a weekend getaway upstate with Missy and Dean. At first, Chris reads the family's overly accommodating behavior as nervous attempts to deal with their daughter's interracial relationship, but as the weekend progresses, a series of increasingly disturbing discoveries lead him to a truth that he never could have imagined.
麦高恩说“让女性发怒还很难”,MeToo支持者“为自己编写了一部小说”,并没有直面好莱坞的本质。
Historical and fictional films each have their own strengths when it comes to storytelling. Every now and then, though, movies pop up that don't quite fit into either category. The stories are wildly unrealistic, but they carry an inkling of truth between their pages. While these are some of the most interesting films out there, viewers often don't even know that what they're watching really happened. Well, wonder no more! Keep reading to learn about some of Hollywood's zanier scripts that took their inspiration from good old-fashioned real-life drama.

现年22岁的劳伦斯是《饥饿游戏》电影系列的女主角,她还可能凭借在电影《乌云背后的幸福线》中的表现获得奥斯卡提名。
v. 拥抱,包含,包围,接受,信奉

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Gabriel: Well, there’s just one problem.

Emily: What’s that.

Gabriel: I like you.

有些人会充分运用科技的力量:
This has given “edtech” start-ups, such as Silicon Valley-based Coursera and London-based FutureLearn, a foothold in the market. Expect them to continue this year, perhaps with a merger with a bricks-and-mortar higher education establishment.
需要德语技能的工作也在2016年的第三季度显著增长。那些想做德语翻译工作的人或许近来很幸运。

A heartfelt coming-of-age story that perfectly captures the bittersweet transition from adolescence to dawning adulthood...
WORST HABIT
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Total Program Cost: $181,500 in either Philadelphia or San Francisco
巴黎排行第三,预计接待游客1803万人。
It was the epoch of belief, it was the epoch of incredulity…

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