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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 2019年公租房有效供应将加大. 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.

Believe it or not, this prize went to the US Government General Accountability Office (GAO) for issuing a report that recommended a report about another report of reports recommending reports... or something like that.
欧洲出现了债务危机。日本面临自然灾害。曾经是全球亮点的新兴市场也失去了光芒。近来意大利、埃及和泰国等国频现政治危机,这或许表明全球市场可能将出现新一轮动荡。
Mr Mallaby’s 800-page book was published in October by Bloomsbury and Penguin Press, and was hailed as “exceptional” in an FT review. It came up against strong competition from five other shortlisted books tackling the world’s critical economic and management challenges — from the US productivity gap to persistent gender imbalances.
单词charity 联想记忆:
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With Chrysler's market share in a death spiral, Fiat will finally grasp that this dud is exactly that - a dud. By autumn, Fiat will threaten to walk away from Chrysler unless the UAW and U.S. taxpayer offer up even more concessions.
The Peoria, Ill.-based maker of heavy equipment authorized $10 billion in stock repurchases in January and expected to buy back $1.7 billion of its shares in the first quarter this year to complete its previous $7.5 billion repurchase initiative. The ongoing buybacks are "a result of our record cash flow," said CEO Doug Oberhelman.
Thirty-six Chinese brands have made it onto the list this year. Among them, eight are in the top 100, including the State Grid Corporation of China (36), the Industrial and Commercial Bank of China (ICBC) (40), Tencent (43), China Central Television (CCTV) (62), Haier (76), China Mobile (79), Huawei (81) and Lenovo (90).
它促使特朗普当选不仅与选举中的投票数不符,而且也没有反映出亚历山大.汉密尔顿(Alexander Hamilton)想要的那种对候选人德行的判断。
给你我无尽的新的祝福,让它们成为我们永恒友谊的新的纪念。
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这项研究需要对夫妻互动时的情绪进行庞大的纵向研究。

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

China is committed to denuclearization of the Korean Peninsula, the peace and stability in the Korean Peninsula, and resolving issues through dialogue and consultation. That is China’s consistent and clear-cut position.
立场:呼吁进行移民改革
根据迪拜政府的最新预测,在迪拜旅游的游客今年将消费313亿美元,远远超过伦敦游客消费的198亿美元。伦敦在游客消费榜单中排名第二。
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.
2. Livers grow by almost half during waking hours. New research suggests that livers have the capacity to grow by almost 50 percent during the day, before shrinking back to their original size at night. They are the only organ we know of that oscillate this way.
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8.The Big Bang Theory Whiteboard Has Real Equations

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:

他有能力向球迷们展示接下来的计划吗?——不管是什么计划。在又一个无论场内场外都丑陋的赛季后,尼克斯球迷当然有理由知道上述两个问题的答案。
优秀老板看起来都会拥有的一个关键是:他们都是解决问题的高手。他们不仅能够发现问题,并能头脑风暴出成功创新的方法来解决问题。
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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.

Courtesy Netflix

这位开国之父指出,选举人团既会防范外国势力想在我们议会中获得不当影响力之心,又会确保总统之位永远不会落到并非具备必要素质的杰出者那种人手里。
判断权在你手里。
“One employee’s parents contacted the company to let us know their son was resigning.

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Switzerland, Sweden and the UK again occupied the top three slots in the ranking. Fifteen of the top 25 economies in the GII come from Europe.

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Gabriel: Well, there’s just one problem.

Emily: What’s that.

Gabriel: I like you.

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请接受我诚挚的新年祝福,顺祝身体健康。
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Spanish business school IE has scored a hat-trick by reaching the top spot in the Financial Times ranking of online MBA programmes for the third year in a row. IE came in ahead of the UK’s Warwick Business School, ranked number two for the third year running, and Durham University Business School, which made it into the top three for the first time.
“An employee left a sticky note saying that he was quitting.”
10. Michelle Jenneke
While Insead’s joint programme dropped back into second place, its single-school programme moved up three places to fourth, a place it last occupied in 2011.
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