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 木林森出资1310万元 再设立全资子公司及孙公司. 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.
There are lots of benefits to studying in a group. You have to be organized. You can't procrastinate. You have to really understand something to be able to explain it out loud to someone else.
I am here to speak on behalf of the starving children around the world whose cries go unheard. 我演讲是为了世界所有忍受饥饿的儿童，而他们的哭泣却无人听见。
But a quick look at the changing skyline betrays a frustrating reality: Those shiny new towers have failed to deliver the type of housing most New Yorkers can afford. “There is a disconnect between what we’re building and what we need to build,” said Jonathan J. Miller, the president of the appraisal firm Miller Samuel. “2015 is going to be more of that.”
It is the eighth straight year that the metropolis has led Chinese cities in terms of consumer spending.
Baoneng is believed to have borrowed heavily to fund its share purchases in Vanke and is now the developer’s largest single shareholder with a 25 per cent stake.
室内环境：这栋砖砌结构、灰泥粉饰并铺着瓷砖屋顶的两层楼房屋由Dorr & Dorr公司设计，于1916年完工，近15年内曾经翻修。该房屋采用了半牧场、半工匠艺术的设计风格，运用了简洁的线条、开敞式空间、典雅的木制品和彩色玻璃等设计。翻修工程由明尼阿波利斯市Sala建筑公司的约瑟夫·麦茨勒(Joseph Metzler)完成。
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.
Watching Under the Skin again brought to mind another comparison: Orson Welles – the Welles who succeeded in creating a hoax martian invasion on the radio and who, in F for Fake (1975), got his partner Oja Kodar to walk around the streets in a miniskirt, secretly filming the lascivious expressions of the non-actor guys looking at her.
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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:
Finance is one of top school Edhec’s core strengths, both in terms of teaching and research. The school in 2001 established the Edhec-Risk Institute to produce and distribute research on areas such as asset and risk management.
While still on stage, Beatty blamed the epic mishap on being given the wrong envelope, saying he had seen the name Emma Stone from 'La La Land' when he opened his envelope.
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 reading represented a fall of 0.4 points from September and a sub-index on output for the gauge, which primarily tracks larger and state-owned enterprises, fell 1.3 points to 53.4. That for new orders dipped 1.9 points to 52.9.
Agricultural raw materials, especially the so called soft commodities such as sugar, coffee and cotton, have been among the top performers this year.
That feeling of success may have provided a sort of identity in itself.
Gabriel: Well, there’s just one problem.
Emily: What’s that.
Gabriel: I like you.
The dollar value of exports from emerging market countries will rise next year for the first time since 2014, helped by higher commodity prices and modestly stronger demand, it is predicted.
考虑到波士顿咨询集团(Boston Consulting Group)管理合伙人理查德莱塞(Richard Lesser)的第二任期将于10月结束，该公司可能也将引来变化。然而，由于该公司拒绝就其选举流程及领导人最多可以有几个任期置评，莱塞的未来尚不明确。
Global emissions of greenhouse gases jumped 2.3 percent in 2013 to record levels, scientists reported Sunday, in the latest indication that the world remains far off track in its efforts to control global warming.