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 互联网下照明行业的未来如何发展？. 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.
Key projected targets for development this year:
Google and Amazon rank second and third respectively.
Tommy Wiseau and Greg Sestero become friends after meeting each other in an acting class in San Francisco. Hoping to achieve Hollywood stardom, Sestero moves to Los Angeles and signs on to appear in his buddy's project. Financed with his own money, Wiseau writes, directs and stars in "The Room," a critically maligned movie that becomes a cult classic.
3. “Spotlight” (Tom McCarthy)
While heavily dominated by French and English schools, accounting for 44 per cent of the table, the ranking is more diverse than ever with schools from 25 countries.
Hurun’s China Rich List, which tracks more than 2,000 private entrepreneurs with a net worth of $300m or higher, added 179 names to its roster this year.
They say that it is especially risky to use the same password for entertainment sites as for email and social networking accounts.
Casual games--simple games such as card games--take second place with three ranked among the top 10 game list, while Web page games--such as Tencents' QQ games--are emerging as a new growth area. According to the report, by the end of Octover 2009, there were 1.54 million users playing the top five Web page games, with each user playing for an average of 30 minutes a day.
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.
Dachis says: The news just keeps getting worse for Mitsubishi. Low sales triggered a decision to pull out of the European market and if the levels of negative discussion are any indicator, 2013 doesn’t look to be any better.
Rounding out our top five is Sandra Bullock, one of only two women on our list (the other is Jennifer Lawrence in 10th place). Bullock had two big hits this year in two very different genres: Gravity was a tense thriller that will likely earn her another Oscar nomination, while The Heat was a cop comedy that kicked butt at the box office, bringing in $230 million globally.
Chinese direct investment in the eurozone was up 37 per cent in 2015, rising to $17.1bn from $12.5bn.
France continues to hold the position as Germany's second largest trading partner in 2016, according to data from DIHK.
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:
As well as dancing, she has her eye on singing and acting - she has already acted in the TV shows Drop Dead Diva and Austin & Ally.
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.
"I don't know what happened," Lowry said. "I just know I got a call for offensive foul. It happens. It's the NBA. That's all I can say about it."
Gabriel: Well, there’s just one problem.
Emily: What’s that.
Gabriel: I like you.
At New Year and always, may peace and love fill your heart, beauty fill your world, and contentment and joy fill your days.
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8. Your appendix might not be a useless evolutionary byproduct after all. Unlike your wisdom teeth, your appendix might actually be serving an important biological function - and one that our species isn't ready to give up just yet.
该书作者马丁輠祹(Martin Ford)周二在纽约的颁奖典礼上获得了英国《金融时报》和麦肯锡(McKinsey & Company)颁发的3万英镑奖金。
The companies that have tried — and so far failed — to create a sustained ETF boom in Asia say the need for wholesale reform suggests the market will be defined by a protracted effort to convince both the regulators and customers to redraw the scenery.
Snap, however, has sunk to about $15 after initially rallying from its IPO price of $17 in March, damping some expectation of further activity involving so-called decacorns, tech companies that have achieved valuations of $10bn or more through private funding.