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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 亿元索赔来袭 佛山照明麻烦不断. 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.

这种迹象各个公司是不同的。你一定要记住,如果公司的业绩在下降,销售额在减少,但还没到危险的地步,这种信号可能不适用与你。然而,如果你的公司看起来就要破产啦,那么请赶快开始找一份新工作吧。
US billionaires hold 540 spots on the list, more than any other country in the world. In second is China with 251 and German with 120.
在排名靠前的学校中,英国华威商学院(Warwick Business School)排名提升最大,从第16位提升至第9名。整体而言,上海交通大学(Shanghai JiaoTong University)的上海高级金融学院(Shanghai Advanced Institute of Finance)排名提升最大,从第28位提升至第14位。
v. 强调,着重
On April 24, Zhou took the pesticide to the Yimin Technician Training School in Rongchang, Chongqing and hid the toxic substance under a desk.
Countrywide, month-on-month prices rose in 62 out of 70 major cities last month, were unchanged in one and fell in seven.
2) I often talk to strangers 0 1 2 3 4
The film is shot to mark the tenth anniversary of the television series, first released in 2005.
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祝大家2015年好运。(财富中文网)
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Big-spending US firms are forcing their UK counterparts to increase salaries right the way from newly qualifieds to the top rainmakers — though that did not stop David Higgins, private equity star at Freshfields, from decamping to Kirkland & Ellis just before Christmas. Boutique specialists are luring clients away by offering faster, more focused services.

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

Mark Williams, chief Asia economist at Capital Economics, adds: “We expect that the performance of EM exports will continue to improve in 2017, with export values rising modestly in year-on-year terms.”
China's actual use of foreign capital during the 2010-2015 period is expected to reach 620 billion USdollars with the tertiary sector taking over 60 percent of total foreign capital. Outbound direct investment grew at 14.2 percent annually.
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单词conduct 联想记忆:
统计显示,截至2015年底,西藏约有59万农村贫困人口。
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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:

It makes piggybacks more comfortable.
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Japan, ranked No. 5 overall, is the top performing Asian country. It ranks No. 5 in Movers and No. 1 as the most forward-looking country.

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

We learned that we could see a source of ripples in space-time.
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Gabriel: Well, there’s just one problem.

Emily: What’s that.

Gabriel: I like you.

《伯德小姐》
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比蒂在后台说:“这真是我遇到的最离奇的一糟事。感谢上帝!幸好是我们两个人在那里!”
charming
至少希拉里今年赢得了点什么。我相信她会非常兴奋。
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Duh.
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.

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