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 亚洲最大在建维修机库在北京新机场正式封顶. 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.
The global battle for the living room continued in Germany with Sony announcing it 2has sold 10 million PlayStation 4s worldwide. To keep that momentum going, Sony announced a number of exclusive new titles at the show, including the action game Hellblade from developer Ninja Theory, the open world adventure game Wild from Rayman creator Michel Ancel, the shooter Alienation from Housemarque, and Q Games genre-bending The Tomorrow Children. Microsoft announced that Square Enix and Crystal Dynamics Rise of the Tomb Raider, the second game in the rebooted Lara Croft franchise, will be an Xbox exclusive in 2015. Xbox will also be getting another big sequel next year with Halo 5: Guardians.
●"Trump Offering Free One-Way Tickets to Africa & Mexico for Those Who Wanna Leave America"
The artefact which has a flat base was found inside an ancient tomb in the Xuyi County in western Jiangsu in 2009. It has been kept at the Nanjing Museum the capital of Jiangsu Province.
“只要总体市场仍然相对积极，只要交易继续执行良好，我们继续预期今年余下时间会保持健康的交易量，”高盛(Goldman Sachs)美洲股票资本市场主管戴维?路德维格(David Ludwig)表示。
8. “The Diary of a Teenage Girl” In her terrific feature debut, Marielle Heller traces the artistic and sexual awakening of a 15-year-old (a sensational Bel Powley) whose desires leads to adulthood.
Next year, the mayor’s affordable housing plan, which calls for building or preserving 200,000 units of affordable housing over the next decade, will begin to take shape. It hinges on a policy that requires developers to build affordable housing in exchange for being allowed to construct taller and denser buildings in neighborhoods rezoned by the city. Developers and housing advocates alike are waiting to see what it will look like once the administration adds muscle and flesh to the bones of the proposal.
Many bosses hold their staff accountable, but the best show that they hold themselves accountable as well. This means adhering to the same guidelines they set for their employees and taking responsibility for both team successes and failures。
碧昂斯与妮琪·米娜(Nicki Minaj)，《完美》(Flawless, Remix)，Parkwood/Columbia
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.
Entrepreneurs are movers and shakers. They can’t afford to analyze every detail or they’d never get anywhere. There is no place for procrastination in a startup. It’s a 24/7, no-vacation-or-sick-days kind of job that demands constant forward momentum. Make a brief assessment at every step and move on it. Trust your instincts.
They have no reason to tank thanks to the pick swap with the Celtics, but they might be able to pick up some nice consolation draft prizes from contenders looking to make a move.
Many are less than impressed by the cheesy indulgence, with the New York Daily News speaking to one dietitian who blasted the lack of nutritional value in the pizza's most expensive ingredient: the Ecuador-imported gold flakes.
Newt Scamander is a magiczoologist who studies magical creatures.
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:
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.
10. Am I worrying about the future? Worrying about something that hasn’t even happened yet causes stress and anxiety. Focus on the moment in front of you and realize that it is all that exists.
The 2013 World Happiness Report comes on the back of a growing global movement calling for governments and policy makers to reduce their emphasis on achieving economic growth and focus on policies that can improve people's overall well-being.
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.
If 2017 was the year of fake news, 2018 is shaping up to be one of fake data. And just as fake news comes in many varieties — real news dubbed by the US president as fake, as well as nonsense gaining huge audiences on social media — so does fake data.
Gabriel: Well, there’s just one problem.
Emily: What’s that.
Gabriel: I like you.
But Mr Stevenson said “this might reflect that the US is being bolder than the EU in protecting domestic steel producers”.
Tracey and Viv Williams, a British couple, dressed as the green cartoon ogres from Shrek at their wedding held recently. Tracy, 33, made a lovely Princess Fion
Phil Baty, editor of THE rankings, said: "China has introduced powerful policy drives, backed with serious funding, to produce world-class universities. In 2015, the country announced its excellence initiative, which aims to establish six of its universities in the leading group of global institutions by 2020."
Martial art “China Youth”(Zhao Wenzhuo and friends)
To start with, a year before the first iPhone was released, LG had introduced a full touchscreen phone. Even that was not the first, though. The world's first touchscreen phone was IBM's Simon, which was released in 1992. And touchscreen technology even predates the Simon. The first touchscreen device was a tablet made by E.A. Johnson in 1965 that was used by air traffic controllers until 1995. Bent Stumpe and Frank Beck made the first capacitive touchscreen in the early '70s. Unlike Johnson's tablet, it could not be pressed with the fingers. Instead, it required a stylus. In 1971, Samuel Hurst developed the first resistive touchscreen, which he called the "elograph." It responded to the fingers as well as a stylus. In 1985, HP invented the world's first touchscreen computer, called the HP-150. In 1993, Apple also released its first touchscreen device—the Newton Personal Digital Assistant. The product was a flop, recording low sales.
On Aug 21, the country came to a pause as millions of Americans — even the president — put on eclipse glasses and stopped to take in the first eclipse to cross the United States since 1918. Its path across the United States was a scientific bonanza for astronomers who were able to more easily point advanced equipment at the sun.
The impact will also ripple out to some net commodity importers, Mr Williams believes, with higher commodity prices likely to boost the price of resource-intensive manufactured goods such as steel, bolstering the value of exports from the like of South Korea.