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 护墙板、楼梯、木门——整木定制三大关键!. 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.
The consequences are more parochial than those of Chinese data distortion. British law requires the ONS to produce the RPI and, given that it refuses to improve the measure, its fiddling affects hundreds of billions of pounds of contracts which continue to be linked to the RPI.
To SKN Company in Russia for exploding old Russian ammunition and creating diamonds. Now that`s recycling!
But then the story took a strange turn. Koudijs and Voth found that Dutch lenders reacted to the Seppenwolde collapse in strikingly different ways. Those who had made loans to Seppenwolde but hadn’t actually lost money became far more pessimistic and demanded much bigger haircuts from all new borrowers. But those who had dodged the bullet by not lending to Seppenwolde didn’t tighten their requirements at all. In fact, those lenders slightly reduced haircuts to their borrowers – a sign they were at least as sanguine as before.
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The .40-calibre Smith & Wesson that killed her, a semi-automatic handgun, was seized by police to undergo ballistics testing to determine if it had been used in other crimes.
在本届戛纳电影节上，女性电影制作人以及相关女性话题曾广受关注成为宣传主题。28年来，戛纳首次以女导演拍摄的电影拉开序幕，伊莎贝拉?罗西里尼(Isabella Rossellini)成为“一种关注”单元评审团主席，莎尔玛?海雅克(Salma Hayek)主持讨论会高调探讨女性角色在电影中的意义。可以讨论的话题有许多，但是真的有何改变吗？数字似乎更能说明问题，主竞赛单元的19部入围作品仅有2部来自女性导演。而后发生的“高跟鞋门”，更有.....面对外界对于影展涉嫌性别歧视的负面消息，艺术总监蒂埃里?弗雷莫(Thierry Frémaux)一点儿反应都没。他只是说，戛纳电影节的举办有着及其不公平的高标准，参展影片不能申请其他诸如威尼斯或柏林电影节。这难道是建议人们去“攻击奥斯卡”？
The residents of the Hankou Binjiang estate had been moved out weeks before.
The untitled movie revolves around two intersecting love triangles, obsession and betrayal, set against the music scene. It stars Christian Bale, Cate Blanchett, Michael Fassbender, Ryan Gosling, Rooney Mara and Natalie Portman.
On questions 10 and 11, if you circled 0, enter 4; if 1, enter 3; if 2, enter 2; if 3, enter 1; if 4, enter 0.
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.
It is reported that Karl Lagerfeld, the artistic director for Chanel, died aged 85 in Paris, leaving the fashion world reeling at the loss of the man.
Even if the tapering is smooth, the Fed could spend much of the year grappling with the prospect of raising its interest-rate target as early as 2015.
据报道，霍莉·亨特（Holly Hunter）因出演《钢琴课》（The Piano）获最佳女主角奖，她的小金人放在科恩兄弟纽约的办公室中，它旁边还有因出演《冰血暴》（Fargo）而获得的奖杯。
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:
Why the difference? It wasn’t because of a difference in the available information. As Koudijs and Voth point out, everybody in Dutch financial circles knew and understood the magnitude of what had happened. Nor was it because the Seppenwolde lenders had to rebuild their own finances. Within weeks of the default, the lenders knew they hadn’t lost any money.
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.
The fall in profits in December highlights the challenges facing an industrial sector racked by overcapacity and falling prices, adding to pressure on authorities to loosen monetary policy and boost infrastructure spending to cushion the slowdown.
The list presents an annual snapshot of the ever-changing global business landscape. The U.S. holds onto its crown as the country with the most Global 2000 companies: 564. Japan trails the U.S. with 225 companies in aggregate, despite losing the most members (26) this year.
Gabriel: Well, there’s just one problem.
Emily: What’s that.
Gabriel: I like you.
Without a cellphone at hand, Sun tried yelling to get the attention of people outside, but no one responded as time passed by.
But her success doesn't come cheap and her mother has already spent ￡5,000 on elaborate dresses and entry fees.
It is not unusual for the documented wealth of China’s richest people to surge suddenly — or even for previously unknown tycoons to burst into prominence — as stock exchange listings and other public investments thrust them into the spotlight.
‘Jeopardy!’ This game show celebrated the 50th anniversary of its debut (broadcast on March 30, 1964), and proved it can still not only stump viewers but also surprise them. That’s not just because the host, Alex Trebek, briefly regrew a mustache after 13 clean-shaven years, but also because some contestants showed they could still rile an audience. This year, it was Arthur Chu, who introduced a blitzkrieg style of gamesmanship that provoked a cyber hate-fest. His strategy was thrilling and certainly effective: he came in second in the Tournament of Champions. (Ben Ingram, the nice guy, finished first.)