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 互联网时代 门窗企业如何实现“品效合一”？. 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.
入围名单以聚焦科技业的图书为主，Basic Books和Oneworld Publications出版的《机器人的崛起：大规模失业的威胁与科技》最终战胜了强大的对手。
“The key thing about Friends is that it’s about people working out how they are going to live their lives — what kind of relationships are they going to have, what kind of job, and the difficulties of settling down,” says Mills to the Daily Mail. “You’re engaged in all those questions about escaping from your family, becoming an adult and working out what you want to be.”And that’s one of the key issues in the youth culture of the 1990s.
On Her Majesty's Secret Service gets an honorable mention on our list of James Bond Theme songs.
The report said there were now 594 dollar billionaires in China, putting China ahead of the United States' 535. However, none of China's super-rich make it into the global top 20.
You don't know how to fix the holes in our ozone layer. You don't know how to bring salmon back up a dead stream. You don't know how to bring back an animal now extinct.And you can't bring back forests that once grew where there is now desert. If you don't know how to fix it, please stop breaking it! 您不知道怎么去修补大气的臭氧空洞，您也不知道怎么去从死亡的河流中拯救鱼类，您更不知道如何把灭绝的动物复苏，您也不能把沙漠中从前完整的森林带回来。如果您不知道如何拯救，那么请您停止破坏吧！
Yet expectations for the summit meeting on Tuesday are low, with no sign of any political breakthrough that would lead to more ambitious efforts. Scientists say emissions must peak within the next few years, and then begin to decline, if the world is to have any hope of keeping global warming to an upper limit that countries agreed on five years ago. So far, no plans are in place that would come close to achieving that.
Actress in a Mini-Series or Movie: Sarah Paulson, “The People v. O. J. Simpson: American Crime Story”
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.
The city of 21 million people recorded 1.86 trillion yuan in total consumption in 2015, marking a yearly rise of 8.7 percent. Consumption contributed over 70 percent to the city's GDP growth.
The emotions were far more visceral and less attractive.
“…was caught in a big lie on her resume during the meeting.”
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Best chance: If there are nine or 10 best picture nominees, it could grab a spot. Jordan Peele's screenplay looks certain to be recognized.
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:
还有仅仅9所商学院参与了所有4项排名。它们的排名从第三（西班牙企业商学院）到第38位（米兰理工大学MIP管理学院(Politecnico di Milano School of Management)）不等。
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.
We will make solid efforts to pursue the Belt and Road Initiative.
普华永道的校园和学校雇佣主管安德鲁?巴杰里(Andrew Bargery)表示，Teach First的毕业生出类拔萃：“他们已经在专业环境下工作过，拥有专业成熟度，并擅长交际。”
Gabriel: Well, there’s just one problem.
Emily: What’s that.
Gabriel: I like you.
In Sex and the City, Miranda and Carrie frequent a place called Magnolia Bakery at 401 Bleeker Street. After the episodes aired, hordes of people had to investigate those cupcakes. Nothing can incur cupcake mania quite like Carrie Bradshaw can. Magnolia Bakery received a huge boost in sales and customers. In fact, they were so popular that they had to hire a "bouncer" of sorts. Not quite your typical club bouncer, this bouncer was friendly and very interested in the finer points of cupcakes.
In comparison, second-tier cities reported worsening congestion, an increase of 3.7% on average, with Chongqing, Changchun, Jiaxing and Shenyang leading the rate of growth at over 7%.
A Honda executive privately attributed much of its troubles on “bad luck,” as opposed to shoddy business practices or deliberate misbehavior on anyone’s part. Perhaps. The company’s leadership is certain to check, double-check and lock down its systems and processes to ensure the level sinks no lower on its reservoir of good will.
朱迪·福斯特（Jodie Foster）过去也将洗手间作为最佳选择 –“它们和水龙头看起来交相辉映”–但她已经为因影片《沉默的羔羊》（The Accused and Silence of the Lambs）获得的两尊小金人找到了一个更好的归属：奖杯盒。
A jailed con artist who falls in love with another inmate and escapes prison multiple times could only be the work of fiction, but this is more or less the real story of Steven Jay Russel. Much like his film counterpart, played by Jim Carrey, Russell was originally sent to prison for fraud. He escaped his first sentence to be with his partner Jim Kemple, who at the time was dying from AIDS. Russell was found two years later and returned to prison. Kemple died soon after.