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 链家60亿融资引百度腾讯入主 估值缩水现隐忧. 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.
3.The End of the One-Child Policy
圣加伦大学在总排名上仍居榜首，这是这家瑞士商学院的战略及国际管理硕士项目连续第七年夺冠。巴黎高等商学院连续第四年屈居亚军，西班牙IE商学院(IE Business School)的排名上升四位，至第三。
The most staggering scene is, of course, that in which the alien picks up a young man with the facial condition neurofibromatosis, played by Adam Pearson. Glazer brings to this scene an utter fearlessness and unsentimentality, perhaps a variation on a theme from David Lynch’s The Elephant Man. The alien does not essentially distinguish between his looks and those of her other victims, but her encounter with him – an encounter of two aliens? – triggers a crisis in which she becomes the prey rather than the hunter.
Allow me to congratulate you on the arrival of the New Year and to extend to you all my best wishes for your perfect health and lasting prosperity.
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.
Apple Inc.'s Chief Executive Officer Steve Jobs is shown in this combination photo of file photographs dating (top row L to R) July 2000, November 2003, September 2005, (bottom L to R) September 2006, January 2007 and September 2008. Jobs will take a medical leave of absence until the end of June because his health problems are "more complex" than he had thought, shocking investors and sending the company's shares down as much as 10 percent on January 14, 2009.
Alternative fuels: For the first time since diesel-powered cars from Europe started arriving here in the 1950s, old first-person accounts about the joys of driving a diesel fall off to near zero. They are replaced by new first-person accounts about the joys of driving cars with ridiculously high horsepower like the 580-hp Chevrolet Camaro ZL1 and Dodge’s Challenger SRT Hellfire with 707 hp. Elsewhere: fuel-cell cars with their longer cruising range move center-stage, stealing the limelight from battery-powered cars.
Piano and ballet performance “On My Fingertips And Toes” (Lang Lang and Hou Honglan)
The TV version premiered on Jan 30 and starred two popular actresses, Yang Mi and Dilraba. It is about a fairy’s romance with a god in their three different lives.
Meanwhile producer prices fell 4.9 per cent year-on-year in February, as expected, compared to a 5.3 per cent fall in January. The drop was the smallest in eight months.
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:
Notably, the domain name for the top fake news story of the year is “abcnews.com.co.” In a November interview with The Verge, Professor Nicole A. Cooke of the University of Illinois’ School of Information Sciences cited the slight modification of familiar domains as a particularly dangerous and common tactic for fake news sites. They make the source look reputable at first glance. The man who operates abcnews.com.co told The Washington Post that he believes his websites were a key factor in the election of Donald Trump.
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.
Millward Brown的BrandZ估值主管Elspeth Cheung表示：“排行榜10强过去由消费品主宰。今年是科技。”
8. It’s never too late to start.
Common and Day will perform "Stand Up For Something" from "Marshall" and Settle will perform "This is Me" from "The Greatest Showman."
Gabriel: Well, there’s just one problem.
Emily: What’s that.
Gabriel: I like you.
"Investing in innovation is critical to raising long-term economic growth," said WIPO Director General Francis Gurry. "In this current economic climate, uncovering new sources of growth and leveraging the opportunities raised by global innovation are priorities for all stakeholders."
The report also found traffic congestion in first-tier cities such as Beijing, Shenzhen, Guangzhou and Shanghai have stopped getting worse with local government efforts.
Songs (Ping An, Xu Yina and Apusasa)
For now, most of the activity around bitcoin is monetary in nature, so it makes sense that its critics point to volatility. Though the value of one bitcoin in U.S. dollars has fallen 67% in the past year, its value over the past two years is up 1,879%, according to the market price chart at blockchain.info. So whether it’s a good investment or a bad one is a matter of perspective.
The truth is, to shut our door to the outside world would not help China do its own things well, so China will continue to open to the outside world, with this opening-up being a gradual process.
Banks just cannot afford to keep up. At Goldman Sachs, for example, net revenues have dropped about a third since 2009, beaten down by structural shifts in trading and new rules crimping risk-taking. The bank tries to keep its pay ratio stable, so that means smaller total packages for the typical employee.