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 定制化时代 铝合金门窗企业怎么华丽转身？. 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.
马克?高恩洛夫(Mark Gongloff)在《赫芬顿邮报》(Huffington Post)上警告说：“一季度美国经济增长的大幅降级揭示了经济体挥之不去的疲弱，暴露了华盛顿执迷于财政紧缩的愚蠢，并给美联储最新的乐观打了一记响亮的耳光。”而随着政治局势的恶化，增长速度还会进一步放缓。
The world's second-largest economy is catching up to traditional innovation front-runners, who were led again this year by Switzerland, Sweden, Britain and the United States, said the annual report by the U.N.'s World Intellectual Property Organization (WIPO), INSEAD Business School and Cornell University.
Still, there are bulls in the market.
But with the US close to full employment and inflation moving up towards the target, “you can see how tighter policy would be warranted,” he says. “It wouldn’t take a whole lot to shift the equation.”
Overall, state-owned and private businesses invested an unprecedented $23bn in Europe — including Norway and Switzerland as well as the EU — in 2015 while investing $15bn in the US, according to a report by Baker & McKenzie, a lawfirm, and Rhodium Group, a consultancy.
According to government sources, property sales in Hong Kong fell almost 40 per cent in the first half of the year compared with the same period in 2015 — both in terms of price and volume. An index from the Rating and Valuation Department released this month showed the commercial sector was a particular casualty, with prices falling 5.7 per cent in May compared with the same month last year.
Song “Embrace Happiness”(Kelly Chen)
*最佳综艺节目台本创作：《约翰?奥利佛上周今夜秀》(Last Week Tonight With John Oliver)
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.
When it was set up in 2002, Teach First’s aim was to encourage more graduates to try teach-ing. Amid worries that the best brains in the country were being lured into the City of London, accountancy and law, the idea was to tap some of their brain power for state schools, in an attempt to tackle educational inequality.
5. Will China's migrant workers get permanent urban residence in 2010?
Britney, YOU drive me crazy for appearing on Loose Women smacking gum like it's 1998 as the panel interrogate you.
Having reached the current stage of development, China can now advance only through reform and innovation. We have the largest quality workforce as well as the largest pool of scientists, engineers and professionals in the world, and their potential for innovation is truly tremendous.
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:
Rios is no stranger to hard work. She moved to the U.S. from El Salvador when she was a child. She graduated at the top of her high school class and raised a family while putting herself through college. She was not intimidated when she started Nation Waste Inc. At just 22, months after graduating from the University of Houston, she took out loans and purchased two trucks, jumping into the male-dominated waste-removal industry. Today, her Houston-based company has 24 full-time employees. "It is pretty amazing when I look back and see, I started as a little girl entering the United States with my parents and now I am truly living the American dream," says Rios.
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.
"To make the world a better place, I invented a transformative water purifier," Google quoted Zhang as saying. "It takes in dirty and polluted water from rivers, lakes and even oceans, then massively transforms the water into clean, safe and sanitary water. When humans and animals drink this water, they will live a healthier life."
There are many more 2016 movie releases that will do well at the box office, but there are only a few that we're all eagerly waiting to watch.
Those in third-tier cities are under relatively low financial stress and human relations stress, and enjoy better social and natural environments, and infrastructure.
Gabriel: Well, there’s just one problem.
Emily: What’s that.
Gabriel: I like you.
'She does wear wigs and crowns and fancy dresses but I don't give her spray tans or cake her in makeup - I'll wait until she's about five for that.'
他会在自己的独唱专辑中尝试什么样的歌曲呢：《Sweet Creature》（《可爱的人儿》）和《Ever Since New York》（《自从来到纽约》）是温馨的原声抒情歌曲；而在《Kiwi》（《奇异果》）这首歌中，他大声地炫耀着自己的欢乐；《Two Ghosts》（《两只幽灵》）则是一首为分手而惋惜的歌曲。
4. OPEC’s Next Move.OPEC deserves a lot of credit (or blame) for the remarkable downturn in oil prices last year.While many pundits have declared OPEC irrelevant after their decision to leave output unchanged, the mere fact that oil prices crashed after the cartel’s November meeting demonstrates just how influential they are over price swings. For now OPEC – or, more accurately, Saudi Arabia – has stood firm in its insistence not to cut production quotas. Whether that remains true through 2015 is up in the air.
皮耶里在大型消费类产品公司工作过多年，如Stride Rite和科迪斯（Keds）等。所以，这种夫妻店在推出新产品时所遇到的困难令皮耶里感到失望。她解释道：“越创新的产品，因为与主流和‘已知’相悖，因而越难销售。”因此，她在五年前成立了The Grommet，这个信息分享平台会将消费者与发明者的故事和产品联系起来。皮耶里的公司帮助发布的产品包括自制碳酸饮料机Sodastream和智能腕带Fitbit。她一直把惠普公司（HP）CEO梅格惠特曼作为自己的导师，并在哈佛商学院（Harvard Business School）担任入驻企业家。
?Bond has it all and that's exactly what the most beautiful women demand in the men they date. Women who really enjoy sex prefer "bad boys" -- and there's no doubt 007 qualifies. Feminine women prefer masculine men. And for one night stands women look for physical attractiveness and dominance -- which Bond has in spades.
The cart-topper's latest track, There's Nothing Holdin' Me Back, saw him beat out the likes of DJ Khaled 's Wild Thoughts ft. Rihanna, as well as Ed Sheeran's smash hit, Shape of You. and Daddy Yankee & Luis Fonsi's record-breaking Despacito.