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 上海出现租房难 90后房客太挑剔改变市场结构?. 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.
According to the search engine, Euro 2012 beat Olympics tickets as the top internet search of the year in the UK, the Sun reported.
It seems that Christmas time is here once again, and it is time again to bring in the New Year. We wish the merriest of Christmas to you and your loved ones, and we wish you happiness and prosperity in the year ahead.又该迎接新的一年了。我们向你及你的亲人们致以最美好的祝福，愿你在新的一年里事业兴旺，幸福美满！
In 2002, Marc Cherry (the creator of Desperate Housewives) was watching the news with his mother in her home. The lead story on the news that day (and many days before) was the Andrea Yates trial. Andrea was on trial for drowning her five children in the bathtub. Marc turned to his mother and asked, "Could you imagine a woman being so desperate that she would murder her own children?"
Tesla has an order backlog of $226 million. At the production run rate of 1000 cars a week expected at the end of 2014, that translates to a 30-week backlog.
2014年，演员蒂尔达·斯文顿(Tilda Swinton)在四部电影中戴着假牙：《零点定理》(The Zero Theorem)、《布达佩斯大饭店》、《唯爱永生》(Only Lovers Left Alive)，以及奉俊昊导演的《雪国列车》(Snowpiercer)。在最后这部惊悚片中，斯文顿饰演残酷、狡猾的梅森部长(Minister Mason)，她戴着一副大大的眼镜，有一口庞大、丑陋的牙齿。
Despite the huge production, the focus was on the 40 gorgeous models who walked the runway.
11月24日至25日，苏富比举办慕尼黑第四代交易商康拉德·伯恩海默(Konrad Bernheimer)的藏品拍卖会，他拥有历史悠久的伦敦科尔纳吉画廊(Colnaghi)。65岁的伯恩海默决定缩小自己的业务，关闭慕尼黑的画廊，卖掉巴伐利亚的豪华宅邸马尔库斯泰恩城堡(Marquartstein Castle)，将科尔纳吉画廊与伦敦的Coll & Cortes画廊合并。
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.
The life expectancy of the average human has increased more in the past 50 years than it did in the 200,000 years of human existence. Life expectancy is now 70 years old – which is a big difference from 47 years old in 1950!
Scott Brooks gets leeway as he learns his roster, and injuries continue to play too big a role. But I just can't fathom why this team is so much worse than the playoff team from a couple years back. The other piece is that it's unlikely the Wizards can conceivably be bad enough to get a top-five pick.
Cheryl Boone Isaacs, Academy President
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:
You might think that our love of lists could be pinned on the Ten Commandments, but Umberto Eco says otherwise. “The list is the origin of the culture,” he once said on a subject he knows well, having written a book titled “The Infinity of Lists.” And culture wants “to make infinity comprehensible” and “to create order — not always, but often,” hence Homer’s catalogs in “The Iliad” and the roll call of never-completed household chores on my fridge. “We like lists because we don’t want to die,” Mr. Eco also said, which is the best explanation of the listicle that I’ve yet read.
其他机构有宝钢集团(Shanghai Baosteel Group)旗下为钢材交易商提供融资的欧冶云商(Ouyeel)、中国第六大银行招商银行(China Merchants Bank)旗下专注财富管理领域的小企业e家(Small Entrepreneur)等。
v. 构成，把 ...
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.
Zhu Xueqin, an NPC deputy and migrant worker from Shanghai.
Gabriel: Well, there’s just one problem.
Emily: What’s that.
Gabriel: I like you.
Rihanna, who came in at second place, earned her runner-up position "following another 12-month period in which she was absolutely bloody everywhere and yet we all entirely failed to get sick of her," per FHM.
6.Head-Mounted Computer Displays
Mr Mallaby’s 800-page book was published in October by Bloomsbury and Penguin Press, and was hailed as “exceptional” in an FT review. It came up against strong competition from five other shortlisted books tackling the world’s critical economic and management challenges — from the US productivity gap to persistent gender imbalances.
D'ALOISIO HAS BEEN quoted opining that 'time is the new currency.' It's the driving notion behind Summly. It's also a strangely wise observation from a 17-year-old. At that age, many of us had more time on our hands than we knew how to fill without plummeting into severe boredom. It's easy to forget-conversing over lunch in a London caf钼 or strolling through the Tate Modern-that D'Aloisio was born in 1995 and has not yet graduated from high school. Or that he still lives in his childhood bedroom, in a cozy upper-middle-class home. As I chat with his parents, he excuses himself to work on his computer. Slouching down the hall in his stocking feet, hems of his skinny jeans brushing the hallway carpet, it is the most kidlike you will ever see him.