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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 人民币贬值千点 涂料企业正式进入冰河时代. 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.

Winners: Mavericks
英国脱欧带来的贸易不确定性
美国公司高管的薪酬不断上升,收入差距越拉越大。在这种情况下,看到一位不光关心自身收入的CEO不禁让人眼前一亮。9月份,联想首席执行官杨元庆宣布,他将连续第二年和大约1万名联想员工分享他的奖金,数额至少为300万美元。他做出这个慷慨决定的原因是这家个人电脑制造商的年度销售额创下了历史新高。据彭博新闻(Bloomberg News)报道,参与“分成”的联想员工获得的奖金大约相当于中国普通城镇就业者一个月的收入。
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此外,他还刷新了他职业新高的助攻数、2分球命中率(63%),还有同样为职业生涯最高的78.5%的罚球命中率。而且,他这赛季的篮板数比职业生涯平均篮板数也多了0.4个。总而言之,詹姆斯本赛季在除得分以外,各项数据都是堪称亮眼。
5. 生活就像一个茶几,上面摆满了杯具和餐具。(杯具是“悲剧”的同音词,餐具是“惨剧”的同音词。)
While he wins the Nerb prize, the sister prize, for the best verb masquerading as a noun, is won by another consultant who referred to a “global touch-base”.
质量强国、制造强国
女士们,我们都接到这样的警告,你将会如何回复呢?
1、超级自信。邦德的超级自信让他不仅更加性感,而且工作更出色。与理性和客观相比,多一些自信往往收获更多(自负时人人感觉都不错)。无论男女都不喜欢谦逊的人。邦德有着实干家的品质:作为特种部队成员,他与普通人不同,具有非凡的自信(又称“自欺性提高”),并且情绪更稳定、更富弹性。
Recognize me?: image via blog.discoverymagazine.com
1.Shailene Woodley

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

顾伦德.查达哈的这部殖民题材电影讲的是1947年的英印权力移交及其余波。当时蒙巴顿勋爵夫妇的府邸有500名仆人,他们中有印度教徒、穆斯林和锡克教徒。休.博内威利和吉莉安.安德森饰演主人公夫妇。
女王每次都是飞机一停就像子弹一样迅速下飞机。
"The rate of college students who have had sexual experiences using condoms is less than 40 percent," said Han Mengjie, director of Chinese Center for Disease Control and Prevention.
Epic is not OK with ongoing cheating or copyright infringement from anyone at any age, it said.
“我……学会了与来自其他文化及社会的人们进行互动,”一位来自瑞典的毕业生说。
冲击奖项:如果这届奥斯卡最佳影片的提名数有9或10部电影的话,那么《逃出绝命镇》能占一个。乔登皮尔的剧本应该一定会被提名。
After 'Gravity' and 'American Hustle,' my picks are in alphabetical order:

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:

本田已在美国召回了1000多万辆汽车,修复其安全气囊一项潜在的致命缺陷。这种气囊由日本供应商高田公司制造,其充气装置在发生车祸时会突然爆裂,溅出金属碎片伤及乘客。本田已确认有三起死亡和48起受伤事件与这一问题有关。
阿德瑞娜利玛穿上了红色,亚历山大安布罗休惊艳四座,你能想到她刚生完孩子么?
THE EFFECT OF RAPID CHANGE

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

Chinese property magnate Wang Jianlin has defended his crown as the country's richest man, according to the annual Hurun rich list, fending off Alibaba Group Holding Ltd (BABA.N) founder Jack Ma and new players on the block like Baoneng's Yao Zhenhua.
1. Bottoms Up Beer System
我可能会说:“我解雇你是因为你工作不达标。”实际上,我并不会说是因为你实在让人受不了,每次和人沟通都会得罪人。

Like air, blue skies treat everyone equally.
日食

房地产的泡沫有多大?分歧比你想象的大得多

揭秘2016年佛山照明的发展之路:如何跻身“世界前三甲”?

Gabriel: Well, there’s just one problem.

Emily: What’s that.

Gabriel: I like you.

塞巴斯蒂安佩恩(Sebastian Payne)
可口可乐(Coca-Cola)下调了今年的销售预测,该公司正艰难应对中国消费放缓,这导致该饮料集团股价下跌逾3%。
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台湾电影无缘2012奥斯卡最佳外语片
本田执行副总裁里克o斯考斯特克在一项声明中表示:“我们已经解决了这一问题。本田已经在早期预警报告中采取了一些重大举措来解决过去的缺陷问题,现在我们将更进一步,加强这些举措。我们将继续与国家公路交通安全管理局充分合作,提高透明度,改进报告工作。”
"Overall this ranking of Asia's best 300 universities proves what a dynamic, diverse and competitive higher education region the continent is becoming -- and China is a key part of that development," said Baty.
The system for ensuring responsibility is taken for poverty elimination will be effectively enforced, the strictest possible evaluations and assessments of poverty alleviation will be carried out, and stern measures will be taken to address deception, falsification, and the manipulation of numbers in poverty elimination work. We must see that the results of our poverty elimination earn the approval of our people and stand the test of time.
557,000 people were murdered across the world in 2001 alone. That number significantly dropped by 289,000 by 2008. The homocide rate is now in decline in 75% of nations.

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