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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 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.

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.

*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)
[ri'frid.reit?]
在甲骨文球场以77比111耻辱性地输掉的这场比赛中,科比11投仅1中,其中三分球7投1中,全场只拿下4分。在上个赛季输给圣安东尼奥马刺队的比赛中。他也曾14投1中。
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.
华盛顿(市场观查者)—美国经济2014年迎来了自二战后最曲折的复苏而且年末能源方面又遇到了大的波折,但是2015年美国经济将披荆斩棘变得更好。
[iks'p?nn]
请接受我节日的祝贺。
智能手机巨头小米创始人雷军同意此观点,将AlphaGo的取胜描述为人工智能领域的突破。
最佳竞技真人秀:《美国之声》(The Voice , NBC)
今年到目前为止,周星驰的《美人鱼》自二月上旬的贺岁档上映以来,已经取得了5.26亿美元的票房收入。
福布斯杂志认为,特朗普净资产的下降,主要是由于曼哈顿市中心房地产市场的疲软。

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

When you post your résumé to a job board, such as Monster or Indeed, there's a chance your current employer could see it. In fact, Foss says many HR staffers and managers regularly search for their company names within job board submissions specifically to see if their employees are looking for jobs。
Democratic frontrunner Hillary Clinton says that if she's elected president, at least half of her Cabinet will be women.
一个解释是,在金融业高薪领域工作的男性比例远远超过女性比例。三分之一的男性在私募、风险资本、投资银行或者并购以及对冲基金领域工作,而女性只有19%。
最新的官方资料显示十二月中旬的数据大幅增长,有1200人已经离开或者正谋求去战场加入圣战份子。
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.
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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:

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。
0=不是

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

……睡着了。
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adj. 相同的,同一的

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加码“金九银十” 近20城松绑公积金政策

Gabriel: Well, there’s just one problem.

Emily: What’s that.

Gabriel: I like you.

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自2017年初,金价上涨了15%,交易价为每盎司1334.78美元。
小说作者安东尼·赫洛维兹(Anthony Horowitz)透露,新书《Trigger Mortis》为现代读者作了改动,包含反对吸烟的信息,而且首次有一位“直言不讳”的同性恋朋友出场。

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v. 使防备,支撑,拉紧,使绷紧
“它说明人们看重个人经验,胜过其他可用信息,”库迪斯表示。人们离一个重要事件的中心越远,此事对他们的风险胃口影响就越小。
单词response 联想记忆:
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.

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