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 木林森并购超时代光源 扩张欧洲超商通路版图. 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.
Moving away from fossil fuels to renewable energy is surely the most important engineering and scientific challenge of our age.
The Peoria, Ill.-based maker of heavy equipment authorized $10 billion in stock repurchases in January and expected to buy back $1.7 billion of its shares in the first quarter this year to complete its previous $7.5 billion repurchase initiative. The ongoing buybacks are "a result of our record cash flow," said CEO Doug Oberhelman.
Together, the world’s 10 highest-paid actresses tallied a combined $205 million between June 1, 2015 and June 1, 2016, before management fees and taxes, Forbes said.
The curbs are having an effect. Overall non-financial outbound investment fell 36 per cent in January from a year earlier to Rmb53bn ($7.8bn), the commerce ministry said on Thursday, following a 39 per cent drop in December.
英国剑桥大学Judge商学院(Judge Business School)排名上升速度最快，今年上升19位，名列第29位，这得益于其在高管MBA排名中的出色表现（该学院今年首次参与此项排名）。华威商学院(Warwick Business School)重返榜单前20名（位列第19），该校去年未参加管理硕士排名。
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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3. 捷蓝航空（JetBlue） 品牌喜爱度：40%/排名：218
The pair stand on opposite sides backstage and memorize the winners to avoid having to write them down and have revealed in the past how they carry out rigorous checks to ensure they have stuffed the envelopes correctly. It is believed Ruiz and Cullinan are ordered to destroy the duplicate cards as the presentation goes on, so by the time Best Picture is awarded, the only envelopes left are the two for Best Picture.
本文作者为卡内基国际和平基金会(Carnegie Endowment)高级研究员、世界银行(World Bank)中国业务局前局长，译者/何黎
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:
在《招魂》一举成功后， 埃德·沃伦和罗琳·沃伦夫妇又推出了其续集《招魂2》。 影片讲述了1977年发生在伦敦的一个真实故事——恩菲德招灵事件。
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.
The movies were selected from more than 2,000 titles from 100 countries and will be screened in 30 cinemas and colleges around Beijing from April 8 to April 23, Zhang Xiaoguang, deputy head of China Film Archive, said last Thursday.
马修?麦康纳(Matthew McConaughey)和贾里德?莱托(Jared Leto) 均凭在剧情片《达拉斯买家俱乐部》(Dallas Buyers Club)中的真实演绎荣获金球奖，该片讲述了一群德克萨斯人向艾滋病病毒发起勇敢抗争的故事。获九次金球奖提名的莱昂纳多?迪卡普里奥(Leonardo DiCaprio)因在《华尔街之狼》(The Wolf of Wall Street)的出色表现第二次摘得最佳男演员桂冠。他在发表获奖感言时感谢了影片导演马丁?斯科塞斯(Martin Scorsese)对他的指导（该片是两人第五次合作），并感谢他“允许自己跟着他拍下了这部电影”。
The recovery may help allay some of the gloom around emerging market countries, many of which used strong export growth as a springboard for rapid economic advancement in the early years of this century, before the export boom turned to bust.
Gabriel: Well, there’s just one problem.
Emily: What’s that.
Gabriel: I like you.
China's National Bureau of Statistics said its property prices index for November showed that new home prices fell 3.7 per cent from a year ago, the third straight annual decline following readings of -2.6 per cent in October and -1.3 per cent in September.
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The report said families back home receive an average of $200 a month, which makes up 60 percent of the household income.Using the steady flow of remittances, families can buy food, get housing, go to school, access healthcare, improve sanitation, or even invest in a business and have some savings, the report said.
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