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.
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.
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.
While the real Rain Man never counted cards, his mental abilities were just as unbelievable. Kim Peek was a uniquely talented savant who possessed a nearly perfect memory. Among his many skills, Peek memorized every road on the map, the composers and dates of countless songs, and incredibly detailed historic facts. After Rain Man, he spent his life touring the country and campaigning for the disabled, to the delight of many who were able to witness his unique gift in person.
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.
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.
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.
The total amount of remittances, which is estimated to reach $450 billion in 2017, has risen by more than 50 percent in the past decade, IFAD said.
They expect the heat to get much worse over coming decades, but already it is killing forests around the world, driving plants and animals to extinction, melting land ice and causing the seas to rise at an accelerating pace.
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.
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:
Bank of China followed the trend, with profits up only 1.3 per cent and ROAA declining by 0.1 percentage points.
The total number of qualified applicants reached 31,220 in the first 24 hours, up from 25,000 over the same period last year, according to figures from offcn.com, an education organization that offers training for the civil servant exam.
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.
4. Outsourcing placement services.
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。
The night's biggest winners may have been hosts Ms. Fey and Ms. Poehler, whose second time hosting the Hollywood Foreign Press Association's Beverly Hills, Calif., ceremony was just as successful as last year's show (a six-year ratings high with 19.7 million viewers).
Gabriel: Well, there’s just one problem.
Emily: What’s that.
Gabriel: I like you.
"Apple, Google and Coca-Cola are the most valuable brands as their finances are strong, their brand is a powerful driver of choice and they are very strong compared to competitors," said Jez Frampton, Interbrand's global chief executive officer.
For over two decades I have been writing about the rise of Asia and the dynamic driving it. There is an extraordinary consensus among east Asian leaders that Asia needs to use this window of opportunity to focus on economic development and growth. War is the biggest obstacle to development. If Asians were truly stupid, they would engage in such wars and derail their enormous development promise. Most Asian leaders, barring North Korea, understand well the dangers of war. Hence, while there will be tensions and rivalries in the region, there will be no wars in the region, in 2014 or in 2015. As 2015 unfolds, I would like to encourage all western pundits to understand the underlying Asian dynamic on its own terms, and not on the basis of western preconceptions.
Taken together, these events and strategic initiatives highlight the Chinese aerospace industry’s realization that, in order to become a globally competitive player, it will need depth as much as breadth. After getting their hands on both ends of the value chain—aircraft design and final assembly—the Chinese now understand that what will make or break their industry over the long term is what happens in the middle of the value chain, at the component and subsystem levels. And that is why China’s ambition to compete with Boeing and Airbus, as well as with GE and Rolls-Royce for aircraft engines, is now more credible than ever.
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。