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 家居建材市场破局 各显神通开辟新渠道. 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.
*最佳综艺导演：瑞安?麦克福(Ryan McFaul)，《艾米?舒莫的内心世界》(Inside Amy Schumer)
But Huy Vo, a senior specialist in public relations at Hawaiian, said the short flights, which make up half the airline’s routes, aren’t all that easy to operate. “Our geographic location certainly does give us an advantage, as well as our short-haul routes, ” Vo said. “However, the short-haul routes are the hardest to keep punctual, because the hops are very short, with brief ground time between flights, so any delay is difficult to make up.
Lei Jun, founder and chairman of Chinese smartphone giant Xiaomi Corp, agreed, describing the win as a breakthrough in artificial intelligence.
最佳竞技真人秀：《美国之声》(The Voice , NBC)
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.
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Democratic frontrunner Hillary Clinton says that if she's elected president, at least half of her Cabinet will be women.
A total of 13.14 million new urban jobs were added.
But her success doesn't come cheap and her mother has already spent ￡5,000 on elaborate dresses and entry fees.
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:
We believe our initiative of mass entrepreneurship and innovation is a response to the call of our time, the government self-targeted reform of streamlining administration and delegating power is also to boost this public enthusiasm for business start-ups and making innovations.
1.It wasn’t me! – Because some things just aren’t worth taking credit for。
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.
E-cigarettes first started becoming popular in 2012. They work by heating a nicotine fluid to mimic a real cigarette. Their invention is usually credited to Chinese pharmacist Hon Lik, who reportedly created it after he dreamed that he was drowning in a cloud of vapor. His father had died of lung cancer caused by cigarettes. He himself was an unrepentant smoker who had unsuccessfully tried quitting by using a nicotine patch.
"It sounds like Harvard is intruding too deeply into the private lives of students," said Dershowitz, who has represented a series of high-profile clients, including OJ Simpson.
The result has been increased ratings this regular season. Everything has been flipped. The offseason is thrilling, "stay on your phone every second checking what's happening" drama. The regular season is fascinating and competitive, with superstar matchups and explosive performances every night. The playoffs? Ho-hum, the Warriors win again. What's interesting is that this might be an actually better growth strategy for the league. A dynamite dynasty to attract the casual viewers who only want to see greatness, a super-compelling offseason and intriguing regular season to keep the die-hards engaged. It flips the standard models on their heads, but it also makes the best use of the NBA's ever-expanding digital presence.
Gabriel: Well, there’s just one problem.
Emily: What’s that.
Gabriel: I like you.
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Death may be behind the ritual of the critic’s top 10 lists, including that of physical media: Lists are easy to read on cellphones even if the deluge of entertainment media increasingly makes comprehensive viewing near-impossible. More than 900 movies will have opened in New York by the end of this year, many slipping in and out of theaters quickly and racing toward on-demand oblivion. Even so, I watched several hundred features over the year and liked quite a few; the major studios and the independent sector released the expected junk but, as usual, movies of merit. What follows are my favorite moving pictures of 2015 and another 10 miscellaneous notes on the year.
Rihanna, who came in at second place, earned her runner-up position "following another 12-month period in which she was absolutely bloody everywhere and yet we all entirely failed to get sick of her," per FHM.