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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 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.

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.

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.
com共同,promise发誓:停战妥协就是两个国家共同发誓不打仗的产物。
On Her Majesty's Secret Service gets an honorable mention on our list of James Bond Theme songs.
3.贾君鹏,你妈妈喊你回家吃饭。
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.
自2004年抵达土星以来,卡西尼号宇宙飞船已经将土星、土星环及土星卫星的图片传送回地球。卡西尼号于9月完成使命,按计划撞向土星大气层中焚毁。卡西尼号在研究土星的同时,还探索了可能存在外星生命的土卫六和土卫二。它使人们更加深入地了解了太阳系,这种影响还将持续,科学家将继续对它收集的数据进行分析。
更好激发非公有制经济活力。
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”
尽管中国排名上升,随着决策者越来越意识到加强创新是一个经济体充满活力、竞争力的关键,发达国家与发展中国家在创新方面仍存在差距。

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

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.”
8. Get Inspired
该书反映了部分群体越来越担忧自动化可能对就业——从制造业到专业服务领域的就业——产生的负面影响。该书英国版的副标题警告了“大规模失业的威胁”,美国版的副标题则预言了“一个失业的未来”。
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.
['t?nl]

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:

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。
22岁的吉吉·哈迪德和21岁的贝拉·哈迪德也是首次跻身榜单,分别位列榜单的第五位和第九位,吉吉·哈迪德的收入为950万美元,她的妹妹贝拉·哈迪德的收入为600万美元。
我们都将直上天堂,我们都将直下地狱

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

镜头切换到《爱乐之城》的演员和剧组人员那里,他们高兴得抱成一团了,但大家可以听到比蒂好像在说:“应该是爱玛?斯通。”而唐纳薇回应道:“什么?”当《爱乐之城》剧组上台领奖时,可以听到旁边的舞台管理人员说:“哦……哦!天啊!他拿错信封了!”
单词temporary 联想记忆:
We will make solid efforts to pursue the Belt and Road Initiative.

恭贺新禧,祝身体健康、事业发达。
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。”

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Gabriel: Well, there’s just one problem.

Emily: What’s that.

Gabriel: I like you.

“我们会根据天气谨慎考虑投送的时间和地点,但这些都不会公开,”脱北者Park Sang-Hak说道,他曾经领导过一系列的气球投送运动。
adj. 勤奋的,用功的
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%.
考察指标包括“智力资本和创新”、“技术成熟度”、“区域重要城市”、“健康、安全与治安”、“交通和城市规划”、“可持续发展与自然环境”、“文化与居民生活”、“经济影响力”、“成本”和“宜商环境”。
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.
《海底总动员2》将于2016年6月17日上映。
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.

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