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 楼市新政出台半月 开发商涨价倾向明显但未实施. 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.
For the fourth year in a row, the top five places continue to be dominated by the same five intercontinental EMBAs. Tiemba came top this year not by spectacularly outperforming its rivals but thanks to a strong performance across most indicators. In particular, the alumni have the second highest salary on average ($324,000) behind alumni from the Kellogg/HKUST programme ($408,000). Tiemba is also ranked second for career progression and fourth for work experience.
But, when the skeletal remains were analyzed, the researchers found that the tombs had been reused multiple times. Some of the tombs contain more than 10 occupants, and the"repeated multiple burials warrant further study," the researcherswrote.
WTF.3: I'm Bigger Than You Think
6. Make a plan.
Native social media ads -- the ones that appear right in your Twitter and Facebook streams -- exploded in 2013. Love 'em or hate 'em, they're only getting bigger in 2014. This year, expect some significant, if slightly creepy, advances in location-specific targeting. Twitter, for instance, just unveiled a feature enabling paid Tweets to be targeted by zip code. You walk into a neighborhood, for instance, and suddenly Promoted Tweets for the local watering hole, dry cleaner, and McDonald's (MCD) pop up in your Twitter stream. This kind of "geo-fencing," which Facebook has had since 2011, enables businesses to court nearby customers who might actually want to get ads offering special deals, in-store specials, etc. The upside: more relevant ads and promos you can actually use. The downside: more ads.
WardsAuto will present its Top 10 Engines awards on Jan. 15 at a ceremony held in conjunction with the North American International Auto Show in Detroit.
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.
Coca-Cola cut its sales forecast for this year as it struggles with a consumer slowdown in China, sending the drinks group’s shares down more than 3 per cent.
贝尼托.墨索里尼(Benito Mussolini)和阿道夫.希特勒(Adolf Hitler)就是煽动家变身独裁者的经典例子。
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:
At the last minute he opted instead for Teach First, the educational charity that has become the UK’s biggest recruiter of new graduates. Rather than parachuting into companies that needed restructuring, Mr Ravenscroft started teaching business and economics at Cardinal Pole School, which serves 11-19 year old boys and girls in Hackney, east London.
2) I Trust Your Judgment: Translation: “You have my permission. I believe in you. Now, go make it happen.” Feels pretty uplifting to hear that, doesn’t it? And I’ll bet you’d do almost anything to please someone who makes you feel that way. Your employees and peers are no different.
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.
Likewise, if the 11 countries led by Japan left in the TPP manage to salvage a deal following the US exit that could provide some balance in the region.
Gabriel: Well, there’s just one problem.
Emily: What’s that.
Gabriel: I like you.
今年27岁的黑人安娜（Ana Beatriz Ferreira）是里约的一名看车员，她说：“门票那么贵，当然只有白人才买得起，进去看球怎么可能轮到我？”
2. The new one childplus policy will substantially raise the birth rate, contributing up to 2million new children to the 2014 economy, a 15 percent one-year lift that willonly further boost consumer morale and spirit.
Writing for a Variety Special: Patton Oswalt, “Patton Oswalt: Talking for Clapping”
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