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 2017地板市场细分化：大势所趋 创新为要. 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.
"They say: 'I wonder why she kept her head down in the meeting; I wonder why she's not eager to take over that project; I wonder why she's leaving early a couple days a week," Kay says. "You're planting questions in their head."
“The auction market is extremely selective,” said Henry Pettifer, the head of old master paintings at Christie’s, whose sale total had been dented by a 15th-century Flemish Madonna and child by Hans Memling that the auction house had sold privately for more than 3.5 million and had withdrawn from the sale. “The availability of fresh material is limited,” he added, alluding to how few museum-quality works are in private hands.
Analysts say headline import figures may start to improve in the coming months since commodity price falls were particularly pronounced at the end of 2014, which will mean smaller year-on-year falls in Chinese imports in value terms.
The programme has enabled me to take a quantum leap in my career and prepared me to take on a strategic C-level [chief-level] role right after graduation, said another alumnus.
Although Chinese domestic suppliers have expanded their market share to 32.7% in 2016, the trend was reversed in 2017, as their share shrank to 26.8%, said Qu Daokui, president of China Robot Industry Alliance.
But the developments also point to the vast gap in the use of such cases between the US and EU, where a debate is under way over whether to grant China “market economy” status in the World Trade Organisation, a concession that would make it even harder to bring anti-dumping cases.
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.
珍妮弗?劳伦斯曾于去年凭藉《乌云背后的幸福线》(Silver Linings Playbook)获得金球奖，而今年再度登台领奖的她表示，获奖感言还是让她倍感紧张。
Salary three years after graduation and salary increase are the main criteria, each accounting for 20 per cent of the ranking’s weight. Most schools in the top 25 score well on at least one of these criteria. The top 10 schools would mostly also rank in the first 10 if salaries and their increases were excluded. The only exceptions are Nanyang Business School and China Europe International Business School, both underperforming in the doctoral and research ranks.
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:
In being named CEO, Mary Barra broke through several historical barriers in moving from GM's third-most powerful executive position to its first. Her job was made both easier by the appointment of a non-executive chairman to handle the board of directors, and more difficult by the decision to give her old job to one of her rivals. As the first product engineer to head the company in two decades, she will be deluged with suggestions about everything from air conditioning vents in new pickups to the future of brands like Buick and Chevrolet.
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.
Here are the 10 winners of the 2012 Ig Nobel Prizes given to scientists, writers, and peacemakers who make silly but thoughtful contributions to the world, or as the Annals of Improbable Research puts it, "first make people laugh, and then make them think." I can vouch for them making us laugh!
Gabriel: Well, there’s just one problem.
Emily: What’s that.
Gabriel: I like you.
"Overall this ranking of Asia's best 300 universities proves what a dynamic, diverse and competitive higher education region the continent is becoming -- and China is a key part of that development," said Baty.
The issue has also hit Beijing’s efforts to secure market economy status in the WTO, which it claims it will be entitled to automatically on December’s 15th anniversary of it joining. If China obtains that status it could affect the ability of the US and others to bring anti-dumping cases, as it would remove their ability to use prices in third countries for comparison.
当发生问题时，库克会迅速而无情地采取行动。2012年底，苹果过早推出了有缺陷的苹果地图(Apple Maps)应用之后，库克解雇了乔布斯的亲密盟友、领导开发iOS的斯科特?福斯托(Scott Forstall)，以及前Dixons首席执行官、掌管苹果零售部门不到一年的约翰?布劳伊特(John Browett)。此举传递出一条信息：库克不会容忍业绩不佳或内部政治。
《沃兹汽车》将于1月15日在底特律一个与北美国际汽车展（North American International Auto Show）联合举办的仪式上颁发十大最佳引擎奖。