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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 不动产登记跑出“孝感速度”. 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.

全球其他地区能加以配合吗?
相比之下,二线城市通报拥堵状况加剧,其平均拥堵涨幅达3.7%,其中重庆、长春、嘉兴、沈阳的拥堵涨幅最高,超过7%。
This heart is too weak to actually pump blood, which is the primary reason anyone would want an new heart. But the tissue has a lot of potential for patching heart muscles that have suffered damage.
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The piece was taken away for laboratory testing, and the Spielman family only received a phone call this month telling them the amulet had been identified.
Dreamworks Animation
早在2008年,从测量心率到根据用户情绪播放音乐等的一系列可穿戴技术就已经被吹捧为消费电子产品的下一个重要契机了。
Wang studied computer programming while growing up in China. After college, she hoped to move to the U.S. to start her career. The next year, the Chinese Students Protection Act was passed and Wang got her master's in computer science at University of Houston. She worked at several Silicon Valley startups (and launched her own, iBizWomen.com) until September 11, 2001. The attack inspired her to create Binary Group, a technology consulting company that works with the Federal Government. Over the past 16 years, Binary has helped its clients save piles of money -- like the Army 20th Support Command, which cut $60 million over five years for its satellite communication bandwidth requirements.
新年英文祝福语大全
无论黑莓和三星联姻这种事是否发生,时代的发展已经凸显了移动技术下一波创新(和诉讼)浪潮的所在:在日益移动化的世界中掌握权限控制方法,阻止企业遭到黑客袭击。(财富中文网)
英国演员丹尼尔卡卢亚扮演的克里斯华盛顿卷入到一个美国小镇的邪恶阴谋中。
President Donald Trump is the nation's first billionaire president -- but he's not as rich as he used to be, according to the Forbes 2017 Billionaires List published last Monday.

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

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iPhone推出一款更大屏幕iPhone手机的迫切性部分来自于亚洲市场——三星平板手机声势浩大地占领了这个市场。假设苹果和中国移动签订的协议包括上述即将推出的新品,那么新款iPhone推出时通常会出现的价格调整将使iPhone 5C对中国市场而言更为便宜且更具吸引力。而这对5C来说也是正确的方向——目前为止,苹果公司对该款产品的销售额颇为失望。或许关于5C重要的一点是,它不是5S,所以将来它可以在不对苹果旗舰产品价格造成压力的情况下进行打折。
n. 鼓励
LeBron James
赢家:猛龙
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一部富有感染力的、描写一名年轻黑人男同性恋成长故事的影片《月光男孩》(Moonlight),获得2017年奥斯卡(Oscar)最佳影片奖。不过,该片险些与此奖项擦肩而过,原因是在混乱的颁奖现场,此奖项曾被误颁给了《爱乐之城》(La La Land)。

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:

STONINGTON, CONN.
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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

4. Outsourcing placement services.
丝绸之路上的城市
美国的麻省理工斯隆管理学院(MIT Sloan School of Management)位居第五,从而阻止了法国商学院囊括前五名。

排名部分基于校友们在职场上的成功程度,衡量标准为薪资数据。
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家居行业洗牌“剩者为王”,龙头公司齐挤“定制”风口

Gabriel: Well, there’s just one problem.

Emily: What’s that.

Gabriel: I like you.

说点实在的
不过,在交易商的仓库里和收藏家的脑海里还有大量早期绘画大师的作品,它们的要价仍停留在汤米·库珀那个年代。不幸的是,在如今的市场上,以那样的价格,很多画作都将像被小提琴砸了个大洞的斯特拉迪瓦里画作一样卖不出去。
我经常生气

[reind?]
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[im'pru:vm?nt]
葡萄牙诺瓦商业与经济学院(Nova School of Business and Economics)巩固了去年的强劲表现,排名进一步攀升14个位置,排在了第17位。

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