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An American in Paris Watches ‘Emily in Paris’

Courtesy Netflix

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 广东省房协:珠三角商品住宅市场整体降温. 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.

Courtesy Netflix

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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At school, even in kindergarten, you teach us to behave in the world. You teach us: not to fight with others, to respect others, to clean up our mess, not to hurt other creatures, to share - not be greedy. 在学校,甚至在幼稚园,你们大人教我们如何处世,你们告诉我们不要打架,要尊重对方。找出答案,解决矛盾。去分享,而不是贪婪。
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Make your classes your highest priority.
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6. Photojournalist
周二发布的官方数据显示,中国的出口在今年10月出现了连续第二个月收缩,这表明内需是PPI上涨的主要推动因素。
一份调查报告称,2014届中国大学毕业生的就业满意度为61%。
我敢保证,魔兽霍华德从未用过生长激素,但在其他人看来,他似乎用了很多。自从离开高中进入NBA后,霍华德的体形似乎翻了一番。
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n. 路费,食物
通过药物注射传播艾滋病病毒的情况已得到有效控制。2017年,经注射吸毒感染者的人数相比2012年下降44.5%。

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.

Courtesy Netflix

China has long since eclipsed Russia as the world's number two power behind the US.
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Its corporate customers value the school’s flexibility and ability to innovate. “We have developed a programme which is co-delivered with an experimental learning provider,” commented one client responding to the FT survey. “Iese has been a true partner in this process and our business has benefited with an energised and prepared executive bench.”
“2017年上半年,我们将看到许多头条新闻报道(新兴市场出口增长)提速,”瑞银(UBS)新兴市场跨资产战略部门主管巴努?巴韦贾(Bhanu Baweja)表示。他认为,今年第一季度新兴市场出口(以美元计)将同比增长8%至13%,“完全摆脱”目前报道的负增长。
单词ridiculous 联想记忆:
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我的核心价值观是什么?作为一个人,对你来说什么是重要的?家庭、健康、信仰、工作还是其他?确保在你的生活中,你追寻了自己最在乎的东西。

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.

Courtesy Netflix

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:

6) My Pleasure: This subtle reminder reinforces a key point. You’re here to help others. You have all the time they need. And you’re happy to do it.
*Reality Host: RuPaul Charles, “RuPaul’s Drag Race” (Logo)
还有仅仅9所商学院参与了所有4项排名。它们的排名从第三(西班牙企业商学院)到第38位(米兰理工大学MIP管理学院(Politecnico di Milano School of Management))不等。

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.

Courtesy Netflix

除了查阅综合榜单,未来的国际学生还可以缩小搜索范围,浏览某地区和某国家大学排行。这些排名仅由学校在综合榜单中的表现决定。
Viewers of online live broadcasting can send virtual gifts, which they purchase, to broadcasters. Gifts range from 0.1 yuan to more than 1,000 yuan. A percentage of the money goes to the platform.
This is all bad news for investors, just as America's 30-year bond bull is ending.

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大型企业PMI为53.1,比上月下降0.7个百分点;中型企业PMI为49.8,回落1.3个百分点,意味着进入轻度收缩。小型企业PMI为49,下降0.4个百分点,意味着收缩加剧。

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Gabriel: Well, there’s just one problem.

Emily: What’s that.

Gabriel: I like you.

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Mr Lam predicts that any recovery in the market will rely on appetite from cash-rich companies from mainland China, with foreign investors restricting their investments to real estate investment trusts or stocks exposed to developers, rather than actual property.
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The mother-to-child transmission rate also reached its historically low point last year, dropping from 7.1 percent in 2012 to 4.9 percent in 2017, Wang said.
Alumni from the Swiss school also have the third-highest salary, at $114,449, adjusted for purchasing power parity, behind those from the Indian Institute of Management at Ahmedabad, on $116,476, and IIM Bangalore, on $116,094. St Gallen is also top for the quality of its careers service.
A string of other Victoria's Secret models have also been banned from the country including Julia Belyakova, Kate Grigorieva and Irina Sharipova - all from Russia - and Ukraine's Dasha Khylstun.

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