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 东莞家居业转型压力大 竞争白热化. 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.
用户在百度搜索平台上最常点阅的新闻事件是，为纪念二战胜利70周年于9月3日在北京举行的阅兵仪式。在此次庆祝活动中，上万名军人接受了现任国家主席习近平、前任主席胡锦涛和江泽民，以及多位外国领导人的检阅，其中包括俄罗斯总统弗拉基米尔·V·普京(Vladimir V. Putin)。
A lighthearted rom-com starring Adam Sandler and Drew Barrymore is the last thing you'd expect to mirror real life, but this comedy was in fact partially based on a true story. Sandler plays a veterinarian who falls in love with Barrymore, an amnesiac whose memory resets at the beginning of each day. He learns that Barrymore has replayed the same day over and over again since a car crash left her with a traumatic brain injury. Upset by the lie she has been living, Sandler's character makes a series of videos that explain her accident and her life for her to watch each morning.
萝丝王在中国长大，在那里学会了计算机编程。大学毕业后，她希望到美国工作。第二年，《中国学生保护法案》（Chinese Students Protection Act）获得通过，萝丝王获得了休斯敦大学的计算机科学硕士学位。2001年9月11日之前，她曾在多家硅谷初创公司（包括成立自己的公司iBizWomen.com）工作。911事件让她产生了创办Binary Group的想法。Binary Group是一家与联邦政府合作的科技咨询公司。过去16年间，这家公司帮助客户节省的资金不计其数——比如美军第20支援司令部（Army 20th Support Command）就在五年时间内共节省了6,000万美元卫星通信带宽开支。
IMD and Iese Business Schools have tightened their grip on the top spots of the twin FT executive education rankings, monopolising first and second places for both open-enrolment and customised programmes.
Mr Baweja agrees with this conclusion, noting that both South Korea and India, another net commodity importer, are exporters of refined oil products, the dollar value of which should rise this year.
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.
When the cup is lifted and removed from the dispenser, the magnet seals the bottom and the drink is ready to be enjoyed.
The US president-elect has pledged to abandon trade agreements which could have wide-reaching effects on American imports and exports of commodities if trade agreements are revised.
An otherworldly romance between a mysterious aquatic creature and a mute girl, played by Sally Hawkins.
Australia is the No. 8 Best Country overall. The Land Down Under – No. 4 in Quality of Life and No. 9 in Adventure – also ranks in the top 10 in terms of education.
她和妹妹都是通过家庭辅导接受教育的。她的妹妹也出演了《Dance Moms》。去年，以两姐妹的名字创建的时尚品牌The Maddie & Mackenzie Collection问世。
Sandy has caused large-scale damage, with more possibly to come.
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:
不过，在长达四小时的马拉松般的颁奖典礼中，《月光男孩》所获奖项一度与《爱乐之城》并驾齐驱。巴里?詹金斯（Barry Jenkins，文首图中）和塔雷尔?阿尔文?麦克拉尼（Tarell Alvin McCraney，文首图右）获得了最佳改编剧本奖。马赫沙拉?阿里(Mahershala Ali)获得最佳男配角奖，这是美国穆斯林男演员首位获得奥斯卡奖。
Lucy Kay 成为亚军，而正太组合 Bars and Melody 位列第三。
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.
Yet, the disparity in haircuts lasted for almost two years. In fact, the pessimism and risk-aversion of the Seppenwolde lenders reduced the overall availability of leverage in Amsterdam.
If you've got children, I understand that this isn't always possible. Children should always come first. But if you don't show up for your classes, you're not getting that education we discussed in No. 1.
Making Airbnb go away might not be so easy. A recent Quinnipiac poll found that 56 percent of the responders thought New Yorkers should be allowed to rent rooms out to strangers. “We don’t want to turn into hotels, but at the same time people want to rent out their apartments sometimes,” said Paul R. Gottsegen, the president of Halstead Management Company, which manages 250 residential properties in the city.
Plastic surgery has long been big business in the US, but now the trend is sweeping across Asia.
Gabriel: Well, there’s just one problem.
Emily: What’s that.
Gabriel: I like you.
Christmas arrived on schedule for the U.S. auto industry as a spurt of sales put the wrapping on a surprisingly successful year. Analysts predicted that sales in December could hit a seasonally-adjusted rate of 17 million, which would be the first month at that rate in nearly six years. That would push 2013 sales up to a robust 15.7 million units.
年少轻狂时，我们事事都乐于尝试。因为觉得自己一无所有而不惧怕失去。也正因如此，我们有时会在不知不觉中走上一条不归路。 WE want to try a little of everything
"Sure, there are only whites in the stadium. It comes down to money," said Ana Beatriz Ferreira, a 27-year-old parking attendant in Rio de Janeiro, who is black. "Nobody I know could find affordable tickets."
For years, slow emissions declines in the West have been swamped by rising emissions in the East, and the trend continued in 2013. China's emissions grew 4.2 percent and India's 5.1 percent. Both countries have been constructing coal-burning power plants at a breakneck pace.
Death may be behind the ritual of the critic’s top 10 lists, including that of physical media: Lists are easy to read on cellphones even if the deluge of entertainment media increasingly makes comprehensive viewing near-impossible. More than 900 movies will have opened in New York by the end of this year, many slipping in and out of theaters quickly and racing toward on-demand oblivion. Even so, I watched several hundred features over the year and liked quite a few; the major studios and the independent sector released the expected junk but, as usual, movies of merit. What follows are my favorite moving pictures of 2015 and another 10 miscellaneous notes on the year.
Rich blessings for health and longevity is my special wish for you in the coming year.