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 新一轮调控组合拳剑指炒房 多地对企业个人购房再设限. 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.
Song “Happiness” (Mao A’Min)
It came as no surprise that the likes of Emily Ratajkowski, Adriana Lima, Lily Donaldson and Petra Nemcova turned out to be the red carpet rulers on day one of the 70th Cannes Film Festival.
This includes ‘qwerty,’ in fourth place, ‘admin,’ in 11th, and ‘login’, in 14th.
Many years before Bryan played "Walter White" on Breaking Bad, he and his brother worked in a restaurant in Florida. The head chef was a very mean man. In a 2011 podcast for Marc Maron, Cranston described him saying "No matter how nice you may have been to him, he hated you." Not surprisingly, all the wait staff routinely discussed how they wanted to kill him. Cranston says it was "all they talked about!"
But economists generally expect the momentum of the recent past to resume and continue once storm distortions abate. The 45 economists who responded to The Wall Street Journal's latest monthly forecasting survey saw the jobless rate falling to 7.8% by next June and 7.5% by the end of 2013. Some say job growth could accelerate from its slow pace. 'I think businesses are going to have to hire,' said Bob Baur, an economist with Principal Global Investors.[qh]
The renewal of the 70-year term of land-use rights by urban-dwelling owners will be no problem. No application needs to be filed, there will be no preset conditions and it will not affect any deal being made over the property.
In October last year North Korean border guards attempted to shoot down some balloons, triggering a brief exchange of heavy machine-gun fire between the two sides.
We will do more to energize the non-public sector.
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.
《危险！》(Jeopardy!)：这个游戏节目今年已播出50年（1964年3月30日首播），它证明自己不仅能难住观众，而且能令他们感到意外。不仅是因为主持人亚历克斯·特里贝克(Alex Trebek)留起了胡子（之前13年他都是把胡子剃得干干净净），而且是因为仍有些选手表明自己能刺激观众。今年刺激观众的是亚瑟·朱(Arthur Chu)，他采用闪电战式的答题方式，在网上引起一片哗然。他的策略令人兴奋，当然也很奏效：他在锦标赛中夺得第二名（友善的本·因格拉姆[Ben Ingram]最后得了第一）。
This is the second time that both enterprises and institutions have adjusted basic pension, since the first simultaneous adjustment in 2016.
Despite the fact that each market rebound ended up as a V-shaped affair, each successive rally was carried out with less and less individual stock participation. Glaring divergences between winners and losers, large caps and small caps, preoccupied the commentariat for most of the spring and summer. Deflationary concerns from Europe and the Japanese technical recession further confounded analysts, as Treasury yields and inflation indicators in the U.S. were driven lower despite the improving domestic economy.
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:
《在生前留下的物品中回忆世界上最长寿的人》(Remembering the World’s Oldest Person, in the Objects She Left Behind)
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.
The S&P 500’s total return of 14% this year was 40% higher than its 25-year average annual gain. Wall Street’s chief strategists spent much of the last 12 months revising their targets higher from behind. The index printed over 50 all-time record closes, with nearly all investment management professionals racing to at least pull even. A few characteristics made the U.S. stock market particularly difficult to keep up with this year.
Consumers in many parts of the world have a preference for buying local which has helped boost the value of local brands.
尼古拉斯·凯奇（Nicolas Cage）向来不随大流，他曾向媒体透露，因为居住权问题，他因影片《离开拉斯维加斯》（Leaving Las Vegas）所获得的小金人“正在某辆卡车上穿越路易斯安那州”。显然，如果政府要对你查户口，问问你的小金人在何处就可以了。
Song “The Sacred Land” (Sun Nan)
Gabriel: Well, there’s just one problem.
Emily: What’s that.
Gabriel: I like you.
Columbia Pictures克里斯蒂安?贝尔、艾米?亚当斯和布莱德利?库珀在电影《美国骗局》中早在1月份闹片荒的时候，人们不会想到今年会迎来如此多好电影。不仅如此，有几部影片甚至达到了被我们在心目中理想化了的那些老电影的水准。今年有两部电影脱颍而出。纯娱乐片方面，赢家显然是《美国骗局》(American Hustle)，这部由大卫?欧?拉塞尔(David O. Russell)执导的影片讲述了上个世纪七十年代的行骗高手和他们的微妙骗术的故事，幽默诙谐，令人捧腹。而从创新角度看，《地心引力》(Gravity)的全新拍摄技术给观众带来了新的观影体验。人们普遍认为《美国骗局》无可挑剔，这部疯狂喜剧片是一部时代佳作。我个人则认为，《地心引力》是今年的最佳影片。
在开放课程排行榜顶端，赛德商学院(Sa?d Business School)排名上升幅度最大，跃升5位至第4名。这是这所位于牛津大学(University of Oxford)的商学院首次进入前五。赛德商学院在所有10项受学员评分影响的指标上的排名都有所提升。
8. You left your résumé in the freaking printer!
The main culprit for the deceleration was food, though food inflation is higher than the overall index. Food prices were up 1.9 per cent in October, down from 2.7 per cent in September and 3.7 per cent in August. Non-food inflation ticked down 0.9 per cent from 1.0 per cent.