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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 拓展“一带一路”市场 把建材卖到中亚国家. 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.

Unlicensed drivers who engage in the services will face a fine ranging from 10 thousand yuan ($1,500) to 30 thousand yuan ($4,500).
5.星巴克。品牌喜爱度:26%/社交商务指数排名:26
艾米卡兹明(Amy Kazmin)
我们的前路应有尽有,我们的前路一无所有……
在1月10日发表的一条推文中,奥巴马写道:“感谢你们为我做的一切。我最后一个请求和第一个一样。我请求你们不要相信我的而要相信你们自己的创造改变的能力。”
其他地方已经出现了这种情况。
Recipient: Lindsay Lohan
8. 斯特吉尔·辛普森(Sturgill Simpson),《乡村音乐的大现代之声》(Matamodern Sound in Country Music),High Top Mountain。一支极为聪敏的乐队做出复古的改革:乡村乐中曾经发生过这样的事。但在斯特吉尔·辛普森突破性的第二张专辑中,他把这一点变成了可适应环境的标志,就建立在他那动人而通透的男中音之上。
清华大学在计算机科学和工程学两个学科中排名居首。这所中国院校今年取代了麻省理工学院,成为计算机科学最强学府。
6.The Conjuring 2:The Enfield Poltergeist
当小李子上台领取奖杯时,制片人哈维韦恩斯坦兴奋地拍拍他的背,全场观众起立为他喝彩。
adv. 有意地,故意地

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

While China remains the largest holder of American government securities, it cut down exposure to USD 1.25 trillion in October.
2010 10-year Treasury yield (year-end): 5.0%
其实我一直都在等你提到篮网队的处境,既然你没说,那就我来说吧。林书豪已经因腿筋受伤缺阵几周了。他们是唯一有摆烂权利但是不摆烂的球队!
The US box office, which includes totals from Canada, hit $11.1 billion, an 8 percent increase year-over-year, and was credited to several smash hits, including Jurassic World ($652 million domestically), Avengers: Age of Ultron ($459 million) and Inside Out ($356 million).
沃克排名第六,得益于他演艺生涯中最卖座的影片《速度与激情6》。在因车祸悲剧丧生之前,他已经完成了《速度与激情7》的大部分拍摄工作。据称环球影业(Universal)不会重新拍摄该片,而会对后续拍摄作出相应调整。
He was under the impression people clicking on the adverts would earn him money. But instead he was charged every time someone clicked on the link.
剧烈动荡石油产量—随着更加缓慢增长的世界经济—造成了原油价格从2013年100美元一桶到2014年年末的几乎50美元一桶的大幅下降,而在美国国内2014年初却造成了通货膨胀的相反影响

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:

在完成该项目的毕业生当中,42%没有继续从事教学工作。但Teach First表示,即便是那些离开教学领域的人也依然认可该项目的价值。
去年年末,世界卫生组织宣布,寨卡病毒不再是全球紧急公共卫生事件。然而,人们才刚刚开始认识到这种病毒对婴儿及其未来几十年生活的影响。在巴西东北部,人们首次发现了病毒与小头畸形等出生缺陷之间的联系,家庭竭力为患病婴儿提供最好的生活。研究人员希望通过研究在巴西出生的一对双胞胎,来寻找病毒对胎儿影响的线索。这对双胞胎中,一个有出生缺陷,另一个没有。
commission

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

单词appearance 联想记忆:
单词elite 联想记忆:
16. Most Ignored Truism “There’s a myth in the business that young males drive the box office,” Tom Rothman, the chairman of Sony Pictures Entertainment’s motion picture group, told The Hollywood Reporter in November. In this same interview, Alan F. Horn, the chairman of the Walt Disney Studios, tried to make it simple: “There are variables that do affect what one pays any performer. Angelina Jolie, for example, got a lot more money for ‘Maleficent’ than Daisy Ridley did for ‘Star Wars,’ but they’re both women.” (Gee, thanks, Alan!)

9. Firefighter
This marks the first time that Google has topped the list since 2011.

红星美凯龙打造“1+N”行业新模式

第三批国家标准制修订 完善涂料VOC检测标准

Gabriel: Well, there’s just one problem.

Emily: What’s that.

Gabriel: I like you.

Google and Amazon rank second and third respectively.
纳米比亚的货币几年来一直对许多其他货币贬值,为其他国家的旅客前来旅游提供了便利条件。最便宜的航班一般会避开南非和欧洲学校的放假时间,尤其是十二月末和一月份。
我没有看到太多迹象表明,“合弄制”(Holacracy)等激进的“无管理者”模式将会普及。但会有越来越多的公司意识到,如果他们不断地尝试创新——就像初创公司那样——他们将比老派的官僚制度和精英管理制度更加灵活和果断。

[d?ɑ:]
科森重塑了卡瑞尔的鼻子,把它变成鹰钩鼻。他还把卡瑞尔的发际线往后刮了一点,留出更多额头。
然而专家却在西方当前的乱象之下看到一种白人身份危机。
According to the country's film regulator, China's box office sales have boosted a whopping 48.7 percent in the last year alone.
“We will see a lot of headlines about [emerging market export growth] picking up in the first half of 2017,” says Bhanu Baweja, head of EM cross asset strategy at UBS, who believes EM exports will show year-on-year growth of between 8 and 13 per cent in dollar terms in the first quarter of this year, “a complete postcode away” from the negative numbers currently being reported.
4.阿迪达斯。品牌喜爱度:35%/排名:25

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