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An American in Paris Watches ‘Emily in Paris’

Courtesy Netflix

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 众企围猎欧司朗照明资产 知名游资潜伏德豪润达. 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.

Courtesy Netflix

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.

"Everywhere I go business owners are seeing an increase in demand," said Gus Faucher, senior economist at PNC Financial Services. "Businesses will have to raise wages to attract or maintain workers."
不过,不管怎么说,2018年对中国许多大型国内电影公司来说都是一个强劲的年份。
Such borrowing is predicated in part on the assumption that by decontextualizing a style you also strip it of any possible negative implications: military, dynastic, what have you. It becomes an aesthetic form that exists on its own terms, as opposed to one that symbolizes all sorts of complicated societal or political convulsions.
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Chinese billionaire Wang Jianlin, whose company owns AMC Theaters climbed into the top 20.
美联储政策中任何意外举动的潜在影响,在2013年的“缩减恐慌”(taper tantrum)中表露无遗,当时,仅是美联储可能很快缩减其超宽松货币政策力度的暗示就足以引发一波全球恐慌。
He then proceeded to ram the violin through the canvas.
上榜的12所美国学院平均而言是性别比例最为平衡的,女性学员比例为48%。
当然,劳动力市场的复苏一直是渐进的,并可能保持这种状况。就业增长速度就需要在目前基础上大大提高,才能让失业率真正大为改观。失业率虽然低于三年前的10%,现在仍然高达7.9%。[qh]
This post is in partnership with Entrepreneur. The article below was originally published atEntrepreneur.com.
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Author Anthony Horowitz has revealed the new book Trigger Mortis has been amended for modern readers and contains anti-smoking messages and for the first time an ‘outspoken’ gay friend.

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.

Courtesy Netflix

In contrast, the average unit price of emerging market exports has been falling in year-on-year terms pretty much since mid-2012, hitting a year-on-year decline of 16.4 per cent in February 2016.
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第八步 反(假)复(装)练习轨迹记忆法或者罗马房间法
新建的房产将给那些财大气粗的租房者提供奢华的居住选择,它们大多位于曼哈顿以外的行政区。根据花旗居屋的数据,在布鲁克林,预计有6527个新的出租单元,将于明年(2015年——译注)投放租赁市场,比曼哈顿3802个单元多出近一倍。
But not every reporter (including this one) would agree with the final assessment.
Ahead of the release, economists at ANZ said they expected inflation to pick up in January owing to rising food prices, and the low commodity prices would weigh on the CPI.
The number of such applications in Beijing last year increased 426% from that of 2015.

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.

Courtesy Netflix

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:

‘Unfortunately, while the newest episode may be a fantastic addition to the Star Wars franchise, ‘starwars’ is a dangerous password to use,’ said Morgan Slain, CEO of SplashData, Inc.
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中国政府鼓励向中小规模的借款人放贷,其中很多贷款者没有信用纪录。分析师预计,在金融上表现活跃但没有信贷渠道的中国消费者有5亿之多。

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.

Courtesy Netflix

This makes China the leader among middle-income economies for this indicator, followed by India which has overtaken Brazil, according to the report jointly released by Cornell University, INSEAD and the World Intellectual Property Organization (WIPO).
46岁的姚振华以深圳为大本营,在房地产上赚取了第一桶金。但他的净财富之所以能在一年内增长约8倍,凭借的是他旗下的宝能集团(Baoneng Group)进军保险业和随后对房地产业竞争对手万科(Vanke)展开“突袭”。万科在中国多座城市拥有业务。
vt. 凌辱,激怒

时间长度:21个月
A total of 2.81 million people who graduated in 2017, 2015 and 2013 from hundreds of Chinese universities were involved in the survey.

中国家具业发展趋势分析:未来几年预计增速15%

卫浴企业面临僧多粥少局面 行业自救靠什么才能保住利润

Gabriel: Well, there’s just one problem.

Emily: What’s that.

Gabriel: I like you.

While heavily dominated by French and English schools, accounting for 44 per cent of the table, the ranking is more diverse than ever with schools from 25 countries.
In 2011, at age 15, D'Aloisio closed a seed round of funding from Li Ka-shing. A year later, Summly launched, and within a month it had attracted 500,000 users and became the number-one news app in 28 countries. The Yahoo! sale capped off a remarkable run for someone not yet out of high school. But it's not mere technological savvy that sets D'Aloisio apart. Since long before he could shave, he has been driven by an intense curiosity and a desire to make some sort of mark on the tech world. Not just to create but to build and, yes, to monetize.
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译文属可可英语原创,仅供学习和交流使用,未经许可,请勿转载。
The catwalk queen and reality star, 22, topped the annual Forbes list for the first time with earnings of $22 million over the past 12 months.
Considering Stryker's founder invented the turning frame -- a device that allows patients to be repositioned in bed while keeping their bodies immobile -- it only makes sense that this medical equipment manufacturer lends employees and their families medical beds, free of charge.
妮诗原来就读于奥顿肖杨树街小学,现在就读于威辛顿女子学校,今年九月会进入奥尔特林厄姆女子语法学校。她与父母尼朗加和施若咪一起生活, 2001年,一家三口从斯里兰卡搬到了曼彻斯特。44岁的父亲尼朗加称赞妮诗在杨树街小学的启蒙老师们功不可没。他说:“我们很早就知道她有天赋,她很小就开始阅读和写字,而且非常擅长数学计算。我们让她做一些有挑战又有趣味的事。作为父母,你不想让孩子的天赋荒废掉,但是在他们的童年时期又需要平衡。她只是一个普通的10岁小孩,真的就像任何其他的10岁小孩。她喜欢阅读、骑车、散步,我们都为她感到骄傲。”
"I heard from several business leaders who shared their concern about our relative silence and impact in urging the political leadership to act on behalf of the citizenry," Schultz wrote in a letter on his company's website.
One of the highest-paid Bollywood actresses, Deepika Padukone hold the third position in the list of 10 most beautiful women of 2015. She is considered a sex symbol and style icon in India. Padukone ranks high on various listings of the most attractive Indian women. She is cited by her figure, height, smile, and eyes as her distinctive physical features. She is an active celebrity endorser for several brands and products, including Tissot, Sony Cyber-shot, Nescafe, Vogue eyewear, Maybelline and Pepsi, among others.

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