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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 “330新政”落地一波三折 广深房贷利率难松动. 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.

n. 利益,津贴,保险金,义卖,义演
201001/95381.shtml
He also posted a picture of himself looking at a racially diverse group of children.
“We miss a heck of a lot of people,” Mr Hoogewerf told the Financial Times. “I was in Beijing two weeks ago and visited this investment company. In the space of one afternoon I discovered 30 people who went on to our rich list this year. Last year they were under our radar.”
A network of walking and biking trails leads to other lakeside neighborhoods and to downtown, which is about 15 minutes by bicycle and 10 by car. The Walker Art Center and other museums are nearby. Hockey and skating are popular on the lakes in winter; canoeing, swimming and fishing in the summer.
The pear-shaped diamond named The Blue is 13.22 carats is estimated to be worth between $21-$25 million.
[ai'dentik?l]
我去年就说过、今年要再强调的一点是:唯一比预测未来更不招人待见的事情就是公开自己的预言。
在法国商学院当中,图卢兹商学院(Toulouse Business School)的进步最大,上升了14位,原因是该商学院首次进入了EMBA榜单。
To be sure, that excitement can certainly lead to unrealistic declarations from those in the community. Some bitcoin developers and investors proclaim that within five years, all the major banks will be accepting bitcoin. That’s a stretch, acknowledges Peter Smith, COO of the bitcoin wallet Blockchain (not to be confused with the actual bitcoin block chain). “I hear a lot of predictions about how soon the whole world will be using bitcoin, and most of the time, those are unrealistic,” he says. “What we’re trying to do as an ecosystem is incredibly audacious, so it’s going to take a lot of time.”
When many millennials struggle to find jobs or make do in low-skilled positions, these masters programmes achieve strong employment rates thanks to their links with corporate partners and alumni networks.
accomplished

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

Likewise, if the 11 countries led by Japan left in the TPP manage to salvage a deal following the US exit that could provide some balance in the region.
《胡润百富榜》的编制者胡润(Rupert Hoogewerf,见文首图)表示:“姚振华代表了中国金融投资创造财富的新浪潮。”
Marcos Carvalho, an 18-year-old Brazilian fan who was hanging out near the Estadio Nacional in Brasilia before Brazil played Cameroon earlier this week, said that he "didn't even try getting tickets, they were too expensive.""There was no way we could afford them," he said. "We'll just watch the match at home, it's all we can do. We are seeing everyone going to the stadium, everyone happy, but we won't be going."
品牌VS市场
今年上榜的十亿美元级富豪为1810名,低于去年1826人的记录。上榜富豪净资产总计为64800亿美元,比去年减少了5700亿美元。
[nju:'tris]
The United Kingdom ranks No. 3 overall. It ranks No. 4 in Power and No. 5 in Cultural Influence.

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:

2016年的欧洲杯足球赛,俄罗斯与英国球迷因其粗鲁及流氓行为一直占据新闻头条。
[slais]
支持:《敦刻尔克》讲述了一场重要的历史事件,深受观众和影评人喜爱。

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

THE NIGHTLY SHOW WITH LARRY WILMORE (Comedy Central, Jan. 19) Mr. Wilmore’s topical comedy show replaces “The Colbert Report” at 11:30 p.m. and represents the latest opportunity to introduce some diversity to late-night programming. No pressure there!
Late last year, the World Health Organization declared that Zika virus was no longer a global emergency. But the disease’s effects on babies who may live for decades are only beginning to be understood. In northeastern Brazil, where links between the virus and birth defects like microcephaly were first detected, families struggle to give the best lives possible to stricken babies. Researchers hope to find clues about the virus’s effects on the fetus by studying pairs of twins in Brazil in which one was born with birth defects and the other was not.
优秀的老板知道公司或客户需求和他/她的员工需求之间一定存有一个平衡度。优秀的老板都喜欢倾听员工的心声和同他们交流可能存在的一些问题,因为他们知道员工快乐工作效率才会更高。

《出租车司机》被誉为历史上最伟大的电影之一,讲述了一名沮丧的前海军陆战队员,在被爱慕的女子拒绝后,试图暗杀参议员的故事。名义上的出租车司机崔维斯·拜寇,生活混乱,充斥着毒贩和妓女,但他的故事从来不是不现实的幻想。相反,它揭示了一个人差点成为成为枪手的真实预警。
就目前而言,虽然偶尔出现一些高价交易(比如大新金融中心、以21亿港元售出的太平山顶豪宅),但整个行业弥漫着广泛的悲观情绪。世邦魏理仕数据显示,今年第一季度房地产业最活跃的部分是写字楼,但交易总量也不过8笔。

三个月减税1000亿 释放民生红利

834万大学生迎毕业季 多地放宽落户门槛"抢人"

Gabriel: Well, there’s just one problem.

Emily: What’s that.

Gabriel: I like you.

卡戴珊,这就是女子精修学校入门级的简单礼仪:并拢双膝和脚踝,然后侧身就可以了。
['debju]
James Bond Themes 5. "Live and Let Die" by Paul McCartney and Wings

Having said this, don't make a pest of yourself. Nobody wants to hear you ask a question every 10 minutes. If you're completely lost, make an appointment to see your teacher after class.
A powerful earthquake struck off Japan's southern coast on May 30, prompting fears in China of a catastrophe similar to the tsunami and Fukushima nuclear power plant meltdown that followed the 2011 Japanese quake. In the end, no fatalities or major damage were reported.
当时,Spielman正在耶路撒冷Emek Tzurim国家公园橄榄山的斜坡上检查泥土。突然就注意到了这个小小的矩形物件。
Age: 45
Kate Winslet is another Brit who’s opted for the loo for her best actress Academy Award, which she was awarded for her complex role as a concentration camp guard in the 2008 adaptation of Bernhard Schlink’s novel, The Reader.
76人队在举步维艰地从一支历史悠久的全职摆烂大队向一支有竞争力地队伍转变;太阳队表现依旧不尽如人意。这两支显然是半垫底的球队了。但是他们至少没有对输球抓狂。

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