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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 新世纪光电完成5亿元再融资案. 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.

a朝向,void空-空城计-避开
《大汉情缘之云中歌》
Over 90 percent of them attended schools in English-speaking countries, such as the US, the UK and Australia, and over 70 percent pursue at least a bachelor's degree, according to the MOE.
单词facilitate 联想记忆:
Among the major U.S. airlines, US Airways had the best holiday on-time performance, coming in fifth with 15.57 percent of its flights arriving late during Thanksgiving and Christmas. Meanwhile, American Airlines, with which US Airways plans to merge, was the fourth worst, with 19.7 percent of flights arriving late, according to FlightAware.
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弗兰西斯麦克多蒙德在这个黑色喜剧故事中扮演一位悲伤的母亲,展现了出色的核心表演。
在证监会分类的18个行业中,金融业高管以2736万元的年薪排名第一,地产业高管以1118万元的年薪位居次席。
“温总理的讲话重点提到了经济和社会发展。中国政府为实现建设繁荣社会这一目标付出了巨大的努力。”Irene Giner-Reichl, Austrian ambassador
其中,人们对越野车的热情不减,大约售出了78.49万台,同比飙涨了60.5%,成为车市的贡献最大者。此外,1月份还售出了26.14万台多用途车辆,比去年同期增长15.9%。
2. 邻客音(LinkedIn)。品牌喜爱度:47%/排名:309

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 reality turned out to be tougher than he imagined. “I saw it as a two-year opportunity,” says Mr Ravenscroft. “The grinding reality is that it’s a slog.” Moreover, his mentor worked at Lehman Brothers, the bank that collapsed in 2008. “It wasn’t quite as long a mentoring relationship as I’d hoped,” he laughs.
在土耳其问题上,普京表示,他看不到与现任土耳其领导人消除紧张关系的可能性。土耳其不久前击落了一架俄罗斯战机。他说,他非常震惊地看到,土耳其非但没有对其行为做出解释,反而转向北约寻求帮助。
The number of moviegoers in 2016 reached 1.37 billion, an increase of nearly 8.9 percent year-on-year.
8. Your appendix might not be a useless evolutionary byproduct after all. Unlike your wisdom teeth, your appendix might actually be serving an important biological function - and one that our species isn't ready to give up just yet.
其中一本被标上"M3"的坟墓里包含有神兽的雕刻,其中有四只代表一年四季以及天堂的各个部分:西边的白虎,南边的朱红鸟,北边的黑龟,东边的青龙。
学者们指出,身份认同可以分为两大类,一种是“获得性”的身份认同,基于个人努力;另一种是“先赋性”的身份认同,基于自身天生的特征。
雷军表示:“这是一个使我震惊的消息。作为一名围棋的忠实爱好者,我从来没有想到人工智能在当前阶段可以击败一个人类冠军,因为这是一项非常复杂的棋类运动。”

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:

The new data released yesterday represent the first snapshot of global trade for 2015. But the figures also come amid growing concerns that 2016 is already shaping up to be more fraught with dangers for the global economy than previously expected.
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业内人士称,该调查显示我国正在进行产业升级,高附加值的服务行业呈上升趋势,这将带来一个欣欣向荣、需要理工类专业人才的互联网产业和一个蒸蒸日上、需要财经类专业人才的金融产业。

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

Joakim Noah, meanwhile, proved to be so untradeable that he couldn't even generate a rumor.
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Gabriel: Well, there’s just one problem.

Emily: What’s that.

Gabriel: I like you.

A schoolgirl aged 11 has been honoured as "America's top young scientist" for inventing a quick, low-cost test to detect lead-contaminated water.
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adj. 相同的,同一的

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Despite the huge production, the focus was on the 40 gorgeous models who walked the runway.
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demo人民+-ic…的→民主的,民主主义的;民主政体的
据教育部表示,这些学生90%以上都就读于英语国家,例如美国、英国和澳大利亚等,70%的人至少是在攻读学士学位。
4.统计学家

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