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 2017家居行业的下一步“新风口与新引擎”. 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.
Zuckerberg also helped launch a lobbying group that is working toward immigration and education reform in the U.S called FWD.us.
主流网络游戏仍然是大型多人在线角色扮演游戏 (MMORPG)。报告说，今年10月，中国最热门的10款网络游戏中有6款都属于大型多人在线角色扮演游戏。动视暴雪(Activision Blizzard)开发的《魔兽世界》(World of Warcraft)在注册用户和最高同时在线人数方面仍然排名榜首。但报告指出，目前围绕着这款游戏大陆运营权的政府监管纷争可能会给《魔兽世界》带来负面影响。网易公司目前持有《魔兽世界》的中国大陆独家运营权。
Behind the facade of many a New York City apartment building is the dissonant sound of residents complaining. The gripes that make their way to the inbox of my Ask Real Estate column offer a glimpse into how residents cope with the myriad irritations that come with living in cramped and costly homes. They include the co-op shareholder horrified by a neighbor’s rats’ nest; the parents whose building has barred them from using a stroller in the elevator; and the renter whose kitchen cabinets fell from the walls.
In the most significant change in methodology since this ranking was first published in 2005, the FT now collects information about alumni’s first jobs after graduation. These data are used in conjunction with information about their current jobs, three years later. This allows the FT to calculate their salary increase since graduation — a new ranking criterion — as well as their career progress (see methodology).
"For IBM, although they regularly top the list of U.S. patentees by volume of patents each year, the Top 100 Global Innovators listing evaluates not just volume, but also success, globalization and impact," said Bob Stembridge, analyst with Thomson Reuters.
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.
Interest in wearable technology isn’t limited to technology companies. Mercedes-Benz is porting its mobile experience to a wearable device, while Virgin Atlantic is exploring the customer service aspect of Google Glass on a trial basis. Kenneth Cole is also using Glass as part of a marketing campaign.
20. Best Advice for Movie Lovers In August, the scholar Wheeler Winston Dixon sounded an alarm: “If you go on Amazon and you see some great black-and-white film, and it’s going for $3, or any kind of foreign or obscure film, buy it, because it’s going out of print, and they’re not going to put them back into print.” Tens of thousands of films that were on VHS never made the jump to DVD or to Blu-ray, Mr. Dixon warns. And the brave new world of downloads (a.k.a. electronic sell-through) — well, tune in next year.
Song “My Heart Will Go On” (Celine Dion, Canada)
Lots of managers recalled extreme etiquette errors. The applicant
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:
But the developments also point to the vast gap in the use of such cases between the US and EU, where a debate is under way over whether to grant China “market economy” status in the World Trade Organisation, a concession that would make it even harder to bring anti-dumping cases.
15. 《旅行终点》(The End of the Tour) ，导演：詹姆斯·庞索特(James Ponsoldt)。
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.
Pan Jiancheng, deputy head of the bureau's China Economic Monitoring and Analysis Center, said the increasing proportion of research and development expenditure to GDP indicates that the driving force of economic growth is transforming to innovation-focus from the traditional factors - exports and investment.
Vegetable price growth more than doubled to 13 per cent year on year, helping push food inflation to 3 per cent, up from 2.7 per cent in September.
Gabriel: Well, there’s just one problem.
Emily: What’s that.
Gabriel: I like you.
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But Michael DeFranco, chair of Baker & McKenzie’s M&A practice, hailed the Chinese group’s investment in developed economies.
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