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 共享经济出难题 政府监管有何药方. 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.
Detroit Three: The other two Michigan-based manufacturers still face bumps. General Motors copes with continued fallout from its ignition switch recall while Ford fights through the most aggressive launch period in the company’s history.
His footballing rival Lionel Messi - who the 31-year-old beat to be crowned the World Player of the Year in January - was second on the list, taking home pound 56 million in 2015/16.
The last leg of the year is set to be a busy one for initial public offerings on both sides of the Atlantic, with companies including Italy’s Pirelli, Alibaba-backed Best Logistics and video streaming platform Roku lining up to list.
但是我们波士士顿波士顿咨询集团不认为中国本次改革会导致中国经济不稳定。我们相信中国经济在习主席的领导下会持续高速增长。我们相信上个星期的改革（三中全会）会确保中国经济从现在一直增长到（至少）2020年。根据我们已掌握的资料，我们预测中国经济在未来10年会增加4万亿美金(而书中说是6.4万亿。2012中国GDP为8.3万亿美金)。如果加上印度，亚洲两大国未来的增长总量会达到10万亿美金。在此期间，中产阶级会迅速膨胀，进而增强对经济增长的乐观态度。当然，没有人能完美地预测未来，在我们的近期的一本关于中国和印度经济发展的书中（《Trillion Prize:Captivating the Newly Affluent in China and India》），我们也描述了一些经济增长缓慢的例子。不过总体上我们还是对中国的未来保持乐观态度。
While Jaws's story is extremely unrealistic, it was based on a real series of deaths attributed to a single shark in 1916. In what has been dubbed the "most unique set of shark attacks that ever have occurred," the Jersey Shore saw four people die from shark bites over the course of two weeks. The offending shark was reportedly caught with body parts still in its digestive tract, although leading scientists still aren't sure what drove it to attack so many people.
总部位于芝加哥的竞争对手科尔尼(AT Kearney)也在为领导层变动做准备，计划于2018年第一季度投票决定接替约翰奥利格(Johan Aurik)的人选。管理合伙人最多担任两个任期，而奥利格已经期满。预计他的继任者将专注于让科尔尼做大，摆脱中等规模参与者之列。
At the same ceremony in New York, Dominic Barton, McKinsey’s global managing director, awarded the Bracken Bower Prize for young business writers to Christopher Clearfield and András Tilcsik. Their proposed book would look at how businesses can manage the risk of catastrophic failure. The 15,000 prize goes to the best proposal for a business book about the challenges and opportunities presented by growth by authors under 35.
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.
"There are close to 70 French citizens or residents in France who have died in Syria and Iraq in the ranks of the terrorists," he added.
In a rigorous analysis of Dutch financial records, Koudijs and Voth conclude that the only real difference between the pessimists and the optimists was whether they had gone through a harrowing personal experience. Koudijs compares it to the behavior of people who lived through the Great Depression, and who avoided financial risk for decades after trauma had passed.
Many technicians think that during the course of this century computerized robots might compete and win against humans.
World Health Organisation declared that the cluster of microcephaly cases and other neurological disorders were a public health emergency of international concern, it was a rallying cry for the international community to respond.
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:
Drivers of China's online ride-hailing services will be required to hold a license by passing exams in November.
One highlight of last year's box office was seven high-quality domestic films listed on the top 10 earners, including 'Monster Hunt', a live-action hybrid, and 'Monkey King: Hero is Back', a 3D animation based on the classic ancient story.
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 system for ensuring responsibility is taken for poverty elimination will be effectively enforced, the strictest possible evaluations and assessments of poverty alleviation will be carried out, and stern measures will be taken to address deception, falsification, and the manipulation of numbers in poverty elimination work. We must see that the results of our poverty elimination earn the approval of our people and stand the test of time.
Gabriel: Well, there’s just one problem.
Emily: What’s that.
Gabriel: I like you.
The valuation that all this good news is creating for Tesla is truly astonishing. A Tesla watcher named Zoltan Ban, writing in Seeking Alpha, figures that Tesla is already priced as if it sells several hundred thousand cars a year when in reality it will sell only about 35,000 in 2014. Another way of looking at this: At current prices, each car the company sells this year is valued at $1 million.
"The average salary level of employees grew by about 6.3 percent year on year in the first three quarters of last year, while China's annual GDP growth stood at 6.7 percent in 2016, both slowing from a year earlier," Jin added.
'It is most probably from a mine in South Africa known as Premier mine and now as Cullinan, where most of the blue diamonds are from. Probably in the last 30 years,' Mr Lunel said.
The unemployment rate probably won't fall quite as rapidly in 2015, according to economists, especially if more people enter the labor force because jobs are easier to find. Yet another large spate of hiring similar to the gain in 2014 would make the low unemployment rate more believable.
开发商：Supermassive Games、Sony Computer Entertainment
Bernard Baumohl 作为Economic Outlook Group的首席经济学家，表示他甚至更乐观的认为接下来的两年将会成为至少近十年以来形势最好的两年，他还称“有很多证据充分的表明了经济正在恢复的势头”。
She argues, however, that the problems with lower liquidity of ETFs in Asia are a symptom of a fund distribution system that fails to incentivise ETF sales by intermediaries. “I don't think there is a quick fix, but you would see a pick-up if Asia moves to a fee-based model,” she says.