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 京津冀协同发展规划掀投资建设潮 地产等领域受益. 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.
Best film and best director. Surprisingly, Nolan has never received a directing nomination from the Academy.
Following the devaluation in mid-August, the renminbi rallied in September and October. Devaluation resumed in November, however, and the renminbi closed at its weakest level in three months at 6.4082 to the dollar yesterday. “Since October many countries around China have experienced some capital outflow, and China has had its share,” said Xie Yaxuan, an economist at China Merchants Securities in Shenzhen. “The strengthening dollar is bound to cause some repositioning into dollar assets.”
“Our goal is to produce as many units as we can and, at the same time, make sure that we do it in a way that maintains and enhances the health of neighborhoods,” said Carl Weisbrod, the director of the Department of City Planning.
Type D personalities usually have a low self-esteem and a great fear of disapproval and this is the primary reason that prevents them from opening up to others.
After a year of sexual harassment scandals that started in Silicon Valley and spread to just about every industry, women will try to capitalise on the momentum to push for permanent changes. And attention will focus on the plight of marginalised minorities, with so few black and Latino employees in the tech industry.
《蓝色茉莉》(Blue Jasmine)：按年代顺序排列，本片属于导演伍迪?艾伦(Woody Allen)自我更新晚期的作品。不过，从艺术角度看，该片算得上是伍迪?艾伦作品中最优秀的喜剧之一。该片的卖点是凯特?布兰切特(Cate Blanchett)的出彩演绎，曾在《欲望号街车》中出演布兰奇?杜布瓦(Blanche DuBois)的凯特?布兰切特这一次出演女主角茉莉，离婚后精神状态有些癫狂。亚历克?鲍德温(Alec Baldwin)在剧中扮演茉莉的丈夫，是一个类似于马多夫(Bernie Madoff)的行骗者。其他人物方面，在经历了欺骗和失望后，莎莉?霍金斯(Sally Hawkins)、安德鲁?戴斯?克莱(Andrew Dice Clay)鲍比?坎纳瓦尔(Bobby Cannavale)以及路易?C.K(Louis C.K.)等人扮演的角色最终都找到了自己的方向。
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.
2. Will China's stock market climb back to 6,000 points?
A few recent scientific papers say that such long-lasting kinks in the jet stream have become more likely because global warming is rapidly melting the sea ice in the Arctic, but many leading scientists are not convinced on that point.
Total Program Cost: $118,000
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:
2013 Rank: 1
尽管法国和西班牙的商学院在“无工作经验要求”项目排行榜上位居前列，但英国商学院才是该榜单的真正“大户”，50所上榜商学院中有17所是英国的，领先于美国（8所）和法国（6所）。两所英国商学院——伦敦商学院和剑桥大学(University of Cambridge)贾奇商学院(Judge Business School)——在“有工作经验要求”项目排行榜上领跑。
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.
Imports grew 6.7 per cent year-on-year to $152.2bn after falling 1.4 per cent the previous month, according to China’s General Administration of Customs, defying a median forecast predicting contraction would worsen to 1.9 per cent.
7. Build a reputation.
smiles and puma snarls
Perhaps it will not catch on in the cut-throat world of Wall Street. Some may see an extended absence as an admission that their jobs are expendable, and that colleagues can survive — and perhaps thrive — without them.
Gabriel: Well, there’s just one problem.
Emily: What’s that.
Gabriel: I like you.
'While RMB is on the rise, currencies from some of China's competitors for tourism, such as Japan, are depreciating, meaning travel to some other Asian countries has been getting cheaper while travel to China is becoming more costly,' Jiang Yiyi said.
While oil prices may rebound in 2015, they almost certainly won't return to $100 a barrel any time soon, barring a geopolitical crisis in a major petroleum-producing region. So the gift will keep giving this year and further feed an accelerating U.S. recovery.
Against: Although it picked up a best editing prize from the LA Film Critics Association, it was ignored by their New York counterparts. Could its momentum be waning
Over at Huffington Post Mark Gongloff warns: That 'dramatic downgrade of U.S. economic growth in the first quarter revealed the economy's lingering weakness, exposed the folly of Washington's austerity obsession and slapped the Federal Reserve's newfound optimism right in the face.' And with politics deteriorating, it'll get worse.
Despite it being not that different from the typical bottle opener, the BOx does have a nice design made with stainless steel and solid wood.
'Increased production in the U.S. meant that spot prices weren't reacting quite as much as in previous geopolitical incidents,' Mr. Hansen said. There is so much supply that threats to it have less impact than previously, and 2014 will be 'the first year in a while when supply growth is going to outpace demand growth,' Mr. Hansen said.
Back in the movie wasteland of last January, no one could have guessed what a bounty of good films the year would bring. Not just good films, but several that measure up to our idealized notions of what the medium once was. Two candidates for the top of the heap pretty much chose themselves. For sheer entertainment, the clear call is 'American Hustle,' David O. Russell's joyous celebration of 1970s-era con artists and their intricate cons. For innovation-a new theatrical experience born of new technology-'Gravity' whirls in its own orbit. With the understanding that there's nothing to be said against 'American Hustle,' and everything to recommend this screwball comedy for the ages, I think 'Gravity' is the best movie of the year.