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 星网锐捷于中国智能化融合峰会斩获多项大奖. 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.
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“With 75 percent of our flights touching the Northeast, either New York or Boston, one delay in the morning can affect the entire line of flying for that airplane, ” said Jenny Dervin, a JetBlue spokeswoman. And, the Northeast is particularly affected by the kind of winter storms that delay flights.
Collins grew up in rural, apartheid-era South Africa in the 1970s. Her childhood inspired her to focus on empowering women living below the poverty line through grassroots efforts. The Wonderbag, which was inspired by watching her grandmother cook with cushions, uses heat retention technology to cook food for 8-12 hours without the need for additional fuel. Collins witnessed the benefits African women received from using Wonderbags, reducing the amount of time they spent collecting firewood. For every bag sold, another is donated to a household in Africa, and in the past four years, the Wonderbags have found themselves in 600,000 African homes. Collins has launched the Wonderbag in the U.S. on Amazon, and hopes to sell the products via other retailers by 2014.
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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.
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进入前五强的还有桑德拉·布洛克（Sandra Bullock），是我们榜单中仅有的两位女演员之一（另一位是排名第十的詹妮弗·劳伦斯）。布洛克出演了两部电影题材迥异的热门影片：《地心引力》（Gravity）是一部紧张刺激的惊险片，有望使她再次获得奥斯卡提名；而《辣手警花》（The Heat）则是一部票房成绩不俗的喜剧片，全球票房收入达2.3亿美元。
The results are based on a survey of 15,870 people across the country in August and September.
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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.
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:
Frankly, this is unlikely to be ready in time for next year, but we'll include it just in case. The second film from Laszlo Nemes, who won the foreign language Oscar earlier this year for Son of Saul, is a coming-of-age drama set in Budapest just before the first world war.
A total of 16 Chinese companies are in the top 100 on the list, including China Mobile, Alibaba and Tencent.
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.
雇主因种族、肤色、性别、国籍、宗教、年龄或残疾而歧视员工属于违法行为。但美国多数州至今依然不保护LGBT群体的工作权益。苹果公司CEO蒂姆库克希望消除这种差异。11月份，库克在《华尔街日报》（Wall Street Journal ）评论版对页发表了题为《平等就业对企业有益》（Workplace Equality Is Good for Business）的文章，敦促联邦立法，以免就业者因性取向而受到歧视。
Such highlighted talents also include cult director David Lynch of the United States and the versatile Taiwan filmmaker Sylvia Chang, whose representative works are on the recommended lineup.
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St Gallen outperforms other ranked schools thanks in part to strong scores for international criteria. More than 90 per cent of students and 80 per cent of faculty are from abroad. The school is also ranked second for both the international mobility of its students and their international exposure during the programme.
Gabriel: Well, there’s just one problem.
Emily: What’s that.
Gabriel: I like you.
在根据真实罪案改编的电影《狐狸猎手》(Foxcatcher)中，以出演喜剧闻名的演员史蒂夫·卡瑞尔(Steve Carell)饰演大富翁约翰·E·杜邦(John E. du Pont)时隐藏在假面具后面。这个造型最突出的就是鸟嘴状鼻子。
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Wearing a black leotard and curled hairpiece, beauty queen Bobbi Boyden shakes her hips and blows kisses to the audience as part of her routine.
7) Let Me Play Devil’s Advocate: Looking for a subtle way to critique? Turn the conversation into an exercise where you’re a detached party performing a function: Poking holes in the logic and plan of attack. You use this strategy to stress test ideas without making the process personal.