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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 北京市住建委:公租房转租行为再次被严肃处理. 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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愿新年带给你和你所爱的人许多美好的事物和无尽的祝福!
The American share in the total drugspending is about one third. IMS experts estimate that in 2014 it will rise11.7 percent. The UShas particularly high prices, according to the report, but drug makers defendthis by citing the soaring cost of new medicine development.
《老友记》播出之时,正值来自小城镇的美国年轻人向大城市转移的时代,而初到大城市的年轻人既不够成熟,也缺乏独自生存的能力。在此之前,情景喜剧都以展现家庭百态为主,父母是剧中的主要人物。但是,当年轻人独自在大城市生活时,他们不得不依靠彼此,一起度过迷茫的青春。
Justin Bieber's split from Selena Gomez was the most enquired-about relationship bust-up while Victoria Pendleton beat Georgia Salpa as the most searched-for participant in a reality television show.
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《Look What You Made Me Do》(《看看你们都让我做了什么》)这首单曲可以载入史册了,流行音乐学者们可能会世世代代地讨论它是否是一次绝妙的公关行动。
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City on the Silk Road
n. 感动(激动,愤怒或震动), 搅拌,骚乱

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

在选择毕业后的职业道路的时候,雷文斯克罗夫特青睐Teach First的原因是,它兼具两个世界的好处。他能够快速当上教师,领取薪水,接受私人部门高管的指导,并与企业接触;相应地,他将承诺任教两年,完成教师资格培训认证。
The paper quoted a number of students from the incoming class, who had a range of responses, including two who said it was the right approach to withdraw the offers. "I do not know how those offensive images could be defended," one student said.
王春法说,在出版前应加强审查和评估。
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马克?高恩洛夫(Mark Gongloff)在《赫芬顿邮报》(Huffington Post)上警告说:“一季度美国经济增长的大幅降级揭示了经济体挥之不去的疲弱,暴露了华盛顿执迷于财政紧缩的愚蠢,并给美联储最新的乐观打了一记响亮的耳光。”而随着政治局势的恶化,增长速度还会进一步放缓。
部分在企业界的资助下,该机构将一流毕业生派到面向低收入社区的学校至少两年时间,而且也完全知道,其中许多人将会在这一时期结束后不再从事教学工作。
Whatever she needs to invoke the weightlessness of life in our new not-normal, she takes. "Is it the end of an era? Is it the end of America?" she intones in "When the World Was at War We Kept Dancing." "No, it's only the beginning."

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:

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Leadership
Some 18.1 million people, for example, want a good full-time job but can't find one, an unusually high number 5 1/2 years into a recovery. And despite a sharp decline in the number of people out of work six months or longer, that figure is still higher than at any time before the 2007-09 recession.

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

"我认为机器会比人类更强大、更智能,但绝不会比人类更睿智。"马云如是说。“因为有一件事是肯定的:智慧、灵魂和心灵都是人类所拥有的东西,而机器永远不能享受失败、成功、友谊或爱情。”
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根据周一上海电视台的报道,2015年,上海市外来常住人口出现15年来的首次负增长。

This groundbreaking fight is loosely based on a bout between Chuck Wepner and Muhammad Ali, in which the "everyman" Wepner managed to become one of the four men to knock Ali down in his career. Just like in the film, Wepner pushed Ali through 15 rounds despite looking (and feeling) like he'd been hit by a truck. While both he and Rocky ended up losing their fights on a technicality, Wepner wins in our book for inspiring such an awesome character.
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Gabriel: Well, there’s just one problem.

Emily: What’s that.

Gabriel: I like you.

CCTV reported Friday morning that teams would still try to lift the vessel.
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On the flip side, why do so many JetBlue flights arrive late during the holidays (22 percent)? For one thing, it flies to and from some of the busiest airports in the country, including New York’s JFK, LaGuardia and Newark Airports. And it encounters some of the same issues as Hawaiian does over the Pacific.

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您只需轻轻一挥将它们放飞,泡沫气球就会自己飘向空中。
6. “Taxi”(Jafar Panahi)
谢丽尔·布恩·艾萨克斯,学院理事会主席
predecessor
5.3-D Printed Ears

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