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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 智慧照明进军LED行业市场究竟胜算几成?. 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.

周边环境:这栋房屋位于Kenwood社区,该社区分布着19至20世纪的都铎式、地中海式、维多利亚式和殖民地风格的建筑,在明尼阿波利斯市湖链区(Chain of Lakes)的锡达湖(Cedar Lake)与群岛湖(Lake of the Isles)之间。这里的道路蜿蜒曲折;人行道两边排列着枫树和白蜡树。据该房源的代理说,该社区许多较老的房屋都已翻修过,而近30年内建造的房屋都推倒重建了。
户外空间:该房产占地面积接近1.5英亩(约6070平方米)。
The system sold around 1.1 million tickets during the 2012 Spring Festival travel rush. Last year it sold 11 million over the same period.
会。供应中断和地缘政治风险因素很可能会持续出现,同时伴随着全球生产商限产。但价格能否保持在70美元或以上水平取决于:在美国页岩油供应不断增长的情况下,俄罗斯是否愿意继续支持沙特阿拉伯牵头的限产努力。参与限产的其他国家也需要继续坚定地遵守协议——随着各国政府受益于油价上涨,继续遵守协议的动力将越来越小。
That feeling of success may have provided a sort of identity in itself.
At the end of a politically charged ceremony in which Donald Trump was the subject of frequent jokes by host Jimmy Kimmel, Warren Beatty and Faye Dunaway announced that La La Land had won. But as the producers and cast of Damien Chazelle’s modern musical were on stage giving emotional thank you speeches, they were told that Moonlight was the real winner.
The surviving cat, since named Trooper, has recovered and found a new home.
大力推进社会体制改革。
China in 2012: fixated on stability as the pressures mount without and within.
6.当我看球赛时,禁止从电视前面经过,你最好是从地板上爬过去以免影响我看球。
卡尔说:“如果要打赌的话,我赌今年比去年更热。”
1950年世界杯决赛,巴西1比2不敌乌拉圭,与冠军失之交臂。对现在的巴西球迷来说,那依然是一段令人痛楚的耻辱史。如今,贝尔蒙特老爷子已经85岁高龄,他希望能够看到祖国重拾桑巴荣耀。“我希望巴西再次夺冠。”他说。“这是我们的复仇之战,我很想去看。”

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

尽管你会忙个不停,但是不要忘记赞美生活中不完美的地方。我在徒步攀登喜马拉雅山的十天中了解到生活也有美好的缺陷。高山峻岭的陡峭边缘,午后骤降的冰雹风暴,都给人带来种种不便,但是却为登山旅途增添了几分妙趣。我敏锐地感觉到,在我追求完美事业的过程中,我往往没有认识到,不完美的地方也是我们自身的核心特质,需要保留下来,而不是经常改变。
Global gold production rose to 3,268.7 tonnes in 2017 from 3,263 tonnes a year earlier, according to the WGC. That was the smallest increase since 2008, when gold mined fell more than 2 per cent during the financial crisis.
The quality of its students makes LBS particularly valued. “Studying among so many talented people has instilled in me the belief that I can actually achieve something on my own,” comments one MBA graduate from the class of 2011.
你的老板很差
产险公司利润同比下降43.49%,至336.57亿元人民币。寿险公司利润下降65.60%,至541.84亿元人民币,再保险公司利润下降58.79%,至30.68亿元人民币。
Hope all your New Year dreams come true!愿你所有的新年想都成真!
Part of the appeal of online programmes lies in their flexibility, reach and slower pace of delivery than cam-pus-based MBAs. Apart from IE, which imposes an 18-month time limit, participants have on average about five years to complete their degrees.

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:

……睡着了。
进口价值的增长是在强势美元推高进口商成本的情况下实现的。11月份以人民币计算的进口增长幅度则为同比增长13%,反映了人民币的相对弱势。
Japanese Three: Honda treads water while it waits for bold new designs from its Americanized management team to reach market, particularly the Acura NSX super car, which has been on the auto show circuit now for several years. Focused now on his legacy, CEO Carlos Ghosn drives executives even harder to meet targets in his latest three-year plan while he grooms a successor. As for Toyota, Automotive News declares that it is firing on “all cylinders” before its move from Southern California with fresh products in key segments.

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

This year's juries were chaired by AFI board of trustees vice chairs Tom Pollock (for film) and Richard Frank (for TV). Other jury members included Judd Apatow, Halle Berry, Jamie Lee Curtis, Leonard Maltin, authors and scholars representing prestigious universities with recognized motion picture arts and TV programs and film and TV critics from media outlets like NPR, Rolling Stone, TV Guide and The Washington Post.
A reporter was turned away at the unit where Ross lived, with a woman politely stating from behind the closed front door that the child’s mother isn’t ready to speak publicly.
《大唐荣耀》全剧共60集,改编自2007年出版的小说《大唐后妃传之珍珠传奇》。该剧主要讲述了女主沈珍珠和丈夫的爱情故事,以及他们为保护国家付出的努力。

Chen is followed by Yang Huiyan, the 35-year-old heiress to Country Garden, a property development company based in Guangdong. Yang is worth 48.5 billion yuan.
14. 《与外婆同行》(Grandma),导演:保罗·韦兹(Paul Weitz)。

首份智能坐便器行业报告发布 行业需进一步培育

家居业难现“假期井喷”之态 找准营销点是制胜关键

Gabriel: Well, there’s just one problem.

Emily: What’s that.

Gabriel: I like you.

定义自己
adj. 特指的;指定的
ap+prove=test测试,证明→证明可行→赞成;承认+al→赞成

根据美国国会预算办公室(Congressional Budget Office)的数据,税收增加与支出削减将2013年的经济增速拉低了约1.5个百分点。许多预测人士认为,2014年财政因素对经济增速的拖累幅度将是2013年的三分之一或更低。牛津经济研究院(Oxford Economics)的美国经济学家达科(Gregory Daco)称,今年政治方面的确定性更高。
Internet tycoons had heated discussions on the promise of artificial intelligence (AI) following the historic victory earlier this month for Google Inc's AI-powered AlphaGo over South Korean Go master Lee Se-dol.
促进消费稳定增长。
'People go crazy and it gets overwhelming.'
该片是《X战警:未来昔日》的续集,也是《X战警》系列电影的最新力作。我们将在片中看到“X战警”大战恶棍“天启”(Apocalypse)。很多昔日的面孔将回归,当然也会有不少新角色出现。 关于电影,我们知道的也仅此而已了,但可以保证的是,这绝对是一部超赞的电影。
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