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 渠道变革元年 厨电实体店怎样打翻身仗？. 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 crown passed from the Plantagenet dynasty to the Tudor monarchs who painted Richard as a deformed villain who stopped at nothing in his quest for power, even murdering his two young nephews -- the so-called Princes in the Tower -- to secure the throne.
Despite the seemingly extensive target vetting on May 7 the Chinese embassy in Belgrade was struck by five Joint Directed Attack Munition satellite-guided bombs delivered by U.S. Air Force B-2 Spirit bombers. Three Chinese journalists—Shao Yunhuan of Xinhua and Xu Xinghu and his wife Zhu Ying of the Guangming Daily—were killed in the attack. Twenty other Chinese nationals were injured five seriously.
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Arriving at the stage, he said: "What an incredible honour, that meant a lot. Two years ago we found ourselves submerged deep in nature with all its complications and all the beauty that it gave us cinematically.
9. You've been avoiding your boss。
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
Over the first weekend of 2015 the second-largest bitcoin exchange, Slovenia-based Bitstamp, was victim of a hack to the tune of some $5 million U.S. dollars’ worth of the digital currency. As the tech press were quick to point out, it was a worrisome start to the year for a digital currency that Quartz had already declared “the worst investment of 2014.” And if you look at its performance between Jan 1, 2014 and Jan. 1, 2015, that’s not wrong: bitcoin ended the year at 39% of the value it started with.
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.
This 1977 file photo shows Apple co-founder Steve Jobs as he introduces the new Apple II in Cupertino, Calif.
“Australia stands out as a market that boomed when reform allowed it to switch from a commission-based model to a fee-based one,” says Mr Montanari. “This would be a game changer in Asia.”
位于华盛顿特区的乔治敦大学(Georgetown University)麦克多诺商学院(McDonough business school)重新回到了定制课程排行榜的第15位，去年，该校因客户调查反馈率低而未上榜。只有3所学校是首次登上定制课程排行榜，包括排名第60位的伦敦卡斯商学院(Cass Business School)。
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:
201011/117323.shtmlThe French actress will star alongside Ryan Gosling, Michael Fassbender and Natalie Portman.
China's economy grew last month, according to a closely-monitored PMI series - which indicated growth for the first time in four months.
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.
Tencent has been helped by agreements to pre-install software with Chinese handset makers who sold increasing numbers of handsets abroad in recent years, particularly in emerging markets, according to Mr. Wang.
《战地神探》(Foyle’s War)，acorn.tv，2月2日播出。去年流媒体服务网络Acorn TV放完了《大侦探波洛》(Agatha Christie’s Poirot)的最后三集，如今又带来另一部传统英国推理剧，这部超级剧集在英国已经拍到第九季，在美国还是首次播出。迈克尔·基臣(Michael Kitchen)在剧中饰演克里斯托弗·弗伊(Christopher Foyle)，一位可敬而又狡黠的侦探，这部剧多年来从一部“二战”后方警探剧演变成勒卡雷(le Carré)式的冷战惊悚剧。新的几集中有纽伦堡审判以及英国在巴勒斯坦所扮演的角色。
'In the meantime, the U.S. continues to grow its own domestic production both in oil and gas. I think, for us, it's less about where the actual price is going--it's more about how much more growth is left in North American oil sands, shale gas, shale oil,' as well as shale exploration elsewhere, he said.
I'm sure Dwight Howard's never used steroids, but it sure looks like he has. It looks like Howard doubled in size since leaving high school for the NBA.
The students were very experienced, commented one graduate. Networking and interaction among everyone involved were key aspects of this programme.
Gabriel: Well, there’s just one problem.
Emily: What’s that.
Gabriel: I like you.
Economic forecasters are counting on 2014 to be a breakout year. But whether the economy finally moves past its sluggish growth will rest on several forces playing out differently than they have since the recovery began. Some of the key questions:
The best time to visit is between May and January in 2017. Be a part of an amazing experience, visiting architecturally and culturally rich heritage sites in Kathmandu Valley, the country's political and cultural hub, and Royal Chitwan National Park in the south, the habitat of rare animals like the one-horned rhino and Bengal tiger.
至于英国，官方虚构数据同样盛行。英国国家统计局(Office For National Statistics)周二公布，以由来已久的零售价格指数(RPI)衡量，去年12月英国通胀率上升至4.1%。该数字纯属胡扯，英国国家统计局对此心知肚明。该机构告诉人们RPI“没有达到规定标准”，不能作为合格的通胀指标，但自2012年以来该机构一直拒绝采取措施来改善该指标并使之贴近3%的整体通胀率。
Best wishes for the holidays and happiness throughout the New Year.