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 家居绿色供应链指数 26企业仅一家获五星. 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.
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She's the perfect choice for this role, having hosted the Oscars last year, and previously hosted the Grammy Awards and the Primetime Emmys.
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This is all bad news for investors, just as America's 30-year bond bull is ending.
Make sure you've got a good plan for seeing that your children are cared for when you're scheduled to be in class, and when you need to study. It really is possible to raise children while you're going to school. People do it every day.
“不能再采取某些国家先行动，其他国家随后行动的策略，因为时间不多了，”奥斯陆国际气候与环境研究中心(Center for International Climate and Environmental Research)的科学家格伦·P·彼得斯(Glen P. Peters)说。他也参与了这些新数据的编制。“现在需要大家齐心协力。”
'If you read Trigger Mortis, you’ll see actually there is a little twist to the tale in that particular story which I think sort of pays him off for his slightly patronising attitude.'
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 paperpot transplanter allows a single person to transplant 264 plants covering over 85ft in just minutes. What used to take hours, now takes minutes. Allowing you to spend less time transplanting crops, and more time doing other things like farm improvements, marketing, sales, or just taking some time off.
至于英国，官方虚构数据同样盛行。英国国家统计局(Office For National Statistics)周二公布，以由来已久的零售价格指数(RPI)衡量，去年12月英国通胀率上升至4.1%。该数字纯属胡扯，英国国家统计局对此心知肚明。该机构告诉人们RPI“没有达到规定标准”，不能作为合格的通胀指标，但自2012年以来该机构一直拒绝采取措施来改善该指标并使之贴近3%的整体通胀率。
For as long as the show has been running — ever since its debut in 2007 — we have been, it seems, suffering from what Hadley Freeman in The Guardian newspaper dubbed “madmenalaria.”
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:
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.
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“Selling out!” “Pandering to the Americans!” The cries went up immediately when the official selection was announced. The list of directors crossing over to make films in English was a long one including the Italians Matteo Garrone and Paolo Sorrentino, Yorgos Lanthimos of Greece, Norway's Joachim Trier and even Guillaume Nicloux of France, a country whose cultural establishment is highly sensitive to the creeping Anglophone menace. The argument goes that Cannes is supposed to be a haven for world cinema; for English, there is Hollywood. But does it really matter? Films at Cannes in languages other than French or English play with subtitles in both languages – and that's a lot of text to deal with.
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Gabriel: Well, there’s just one problem.
Emily: What’s that.
Gabriel: I like you.
Brazil lost that 1950 final, 2-1, to Uruguay, a historic humiliation that still stings Brazilian fans today. Belmonte, 85, hopes he'll get to see his country regain its honor. "I hope Brazil will be able to win this time," he said. "This is our revenge. I want to go see our revenge."
《被撕破的芭蕾舞鞋和突变的生活》(Torn Ballet Shoes, and a Life Upended)
Chicago-based rival AT Kearney is also preparing for a change at the top, with a vote to replace Johan Aurik, who has already served the maximum two terms as managing partner, due to take place in the first quarter of 2018. His replacement will be expected to focus on how to pull AT Kearney out of the ranks of mid-sized players.
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On China's Twitter-like Weibo, many netizens thumbed up the boy's bravery and calmness in the face of such emergency.
Meanwhile, former Fifth Harmony star Camila Cabello proved her solo career is getting off to a flying start as she picked up the Best Pop award for her debut single, Havana.Her win meant that Taylor Swift was dealt another award snub, though it was just one of many for the singer, who recently made her return to the spotlight following her one-year hiatus.