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 税务部门服务升级纳税人晒减税“大餐”. 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.
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Bernard Baumohl, chief global economist of the Economic Outlook Group, said he is even more optimistic. "The next two years could be the best two we have seen in at least a decade," he said. "There is clearly a lot of evidence the economy is gaining a lot of momentum."
But top managers at companies in the fields of scientific research and technology services saw their pay decrease by 4.2%.
Hurun Chairman Rupert Hoogewerf said: "Those entrepreneurs should be called 'super wealth creators' instead of simply 'rich people', which could highlight their contribution to China's society and economy."
In the heart of Wan Chai, on one of Hong Kong’s busiest streets, stands a 33-storey office tower that earlier this year became the second most expensive property to change hands in a city that boasts the world’s costliest property market.
*剧情类最佳客串女演员：玛格?马丁戴尔(Margo Martindale)，《美国谍梦》(The Americans)
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.
Her mother discovered the debits on Jan 30, China Central Television reported.
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“We do things for other reasons than a profit motive, we do things because they are right and just,” Mr Cook growled. Whether in human rights, renewable energy or accessibility for people with special needs, “I don’t think about the bloody ROI,” Mr Cook said, in the same stern, uncompromising tone that Apple employees hope they never have to hear. “Just to be very straightforward with you, if that’s a hard line for you?.?.?.?then you should get out of the stock.”
Meanwhile, a salesman from online travel company Tuniu Corp told the Financial Times that it had on Friday “removed all tours to South Korea due to the Thaad issue”. A search for South Korean tours on the website returns the message: “Sorry, we have not found a relevant product.”
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:
André Aciman’s 2007 novel has spawned a big screen adaptation that’s among the most acclaimed films of the year. Up-and-coming 21-year-old actor Timothée Chalamet plays a young man living in Italy who has a passionate affair with an older academic (Armie Hammer). When it premiered at the Sundance Film Festival in January, BBC Culture critic Sam Adams awarded Call Me By Your Name five stars and praised Chalamet and Hammer’s chemistry, the lush photography of the sun-kissed Italian setting, and the particular nuance and depth of the script. It will be a major Academy Awards contender. Released November 24 in the US. (Credit: Sony Pictures Classics)
Other Chinese companies that filed a large number of patents included ZTE, Alibaba, Xiaomi, BYD and Haier, all of which are rapidly expanding into Europe.
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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.
贝尼托.墨索里尼(Benito Mussolini)和阿道夫.希特勒(Adolf Hitler)就是煽动家变身独裁者的经典例子。
6. 米兰达·兰伯特(Miranda Lambert)，《白金》(Platinum)，RCA Nashville。兰伯特很快从坚强的新贵蜕变为光芒四射的乡村乐贵族，这张《白金》是她最好的专辑，她带着轻松的权威之感逾越了界限。专辑中伤感与世俗的情绪交替出现，修饰和粗粝的比例恰到好处，这张专辑让人们明白她有着强大的力量，向任何低估她实力的人发出挑战。
In terms of the volume of exports from emerging markets, Mr Baweja would not rule out growth of around 4-5 per cent. But while this would represent a modest improvement on recent years, growth at this rate would still be “in the bottom quartile over the long-term distribution, even maybe the second decile”, given that median growth has been about 7 per cent a year over the past 25 years.
Import growth lifted year-on-year to a pace of 17.7 per cent for the period, up from 17.2 per cent a month earlier and beating an expected rate of 11.3 per cent.
Gabriel: Well, there’s just one problem.
Emily: What’s that.
Gabriel: I like you.
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