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 地板行业如何不再“谈醛色变”. 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.
1.Mitsubishi. Brand love: -12% / Rank: 360
The average monthly salaries for grads in law, engineering and medical majors are 5,545, 4,512 and 4,500 yuan respectively, slightly down from last year, while graduates with educational and agricultural majors are offered lower pay, at 3,258 and 3,184 yuan respectively.
Adding a plant is beneficial, as nature is a subconscious link to energy. An orchid or bamboo plant is easy to maintain, while providing a refreshing element to your space.
Wishing you all the happiness of the holiday season.
The raised decoration shows a cartouche — an oval frame around Egyptian hieroglyphics indicating a royal name. Above the frame archaeologists could make out the symbol of an eye and that of a cobra.
7) Let Me Play Devil’s Advocate: Looking for a subtle way to critique? Turn the conversation into an exercise where you’re a detached party performing a function: Poking holes in the logic and plan of attack. You use this strategy to stress test ideas without making the process personal.
TAXES: Approximately $16,866 in 2014
Interest in wearable technology isn’t limited to technology companies. Mercedes-Benz is porting its mobile experience to a wearable device, while Virgin Atlantic is exploring the customer service aspect of Google Glass on a trial basis. Kenneth Cole is also using Glass as part of a marketing campaign.
The special tokens of appreciation will take place alongside more traditional and somber observances, including the laying of a wreath by President Barack Obama at the Tomb of the Unknown Soldier at Arlington National Cemetery, just across the Potomac River from the nation's capital.
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.
Mr Cahan said that the vision and technology behind Summly’s machine-learning and natural language processing abilities were “equally impressive”.
It was the lesson of the UK general election and it's the big 'takeaway' from Cannes too: prediction is a mug's game. All week the chatter was that Todd Haynes' lesbian love story Carol was set to collect the Palme d'Or – or that Holocaust drama Son of Saul from first-time director László Nemes would triumph. In the last few days a consensus began to form around The Assassin from Taiwanese director Hou Hsiao-Hsien; according to British bookmakers, The Lobster was the one to beat. But when Jacques Audiard's Dheepan was announced as the winner, the response was a collective “really?” For all the pundits, critics' panels, insider gossip, statistics and God knows what else, few had picked it. Oh well: c'est la vie.
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:
Traditionally Chinese universities scored less well in international ranking tables compared to US and European incumbents in levels of teaching and research.
At the age of 12, most girls are battling with their parents to get their ears pierced, learning the ropes at senior school and preparing for life as a teenager.
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 promote the liberalization and facilitation of international trade and investment.
最佳迷你剧/电影：《美国罪案故事：公诉辛普森》(“The People v. O. J. Simpson: American Crime Story”, FX)
Gabriel: Well, there’s just one problem.
Emily: What’s that.
Gabriel: I like you.
During your early years wasthere anything that inspired or sparked your imagination to start writing theway that you have done so far?
Jon Copestake, editor of the EIU Worldwide Cost of Living Index, said one of the most notable changes was the rising costs in Australia, with Sydney third in the list and Melbourne fifth. Sandwiched between them was Oslo in Norway.
It is the continual shrinkage of components that have unleashed the explosion of computing power and enabled these gadgets to be accessible to people across the world.
While the real Rain Man never counted cards, his mental abilities were just as unbelievable. Kim Peek was a uniquely talented savant who possessed a nearly perfect memory. Among his many skills, Peek memorized every road on the map, the composers and dates of countless songs, and incredibly detailed historic facts. After Rain Man, he spent his life touring the country and campaigning for the disabled, to the delight of many who were able to witness his unique gift in person.
Will China's stock market climb back to the 6,000-point mark it reached two years ago? The stock market was at its most bullish back then, but if you ask the same question now, some would cite a global economy still reeling from a recession.
2013 Rank: 3