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 浙江房地产市场首次“双随机”抽查. 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.
May you have the best New Year ever.
Hua Xu Yin is about a princess who sacrificed her life for the country but later was saved and began her own adventures with another name. It is also a TV series adaptation of an online novel of the same title written by Tang Qi. The series premiered in July 2015, staring Lin Yuan and Zheng Jiaying. However, it did not get as much attention as its rivals. According to the online critics, the lead roles and their costumes were not appealing enough in the adaptation.
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13. “Girlhood” (Céline Sciamma)
Don't Make Yourself Too Comfortable
The curbs are having an effect. Overall non-financial outbound investment fell 36 per cent in January from a year earlier to Rmb53bn ($7.8bn), the commerce ministry said on Thursday, following a 39 per cent drop in December.
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.
不过，在长达四小时的马拉松般的颁奖典礼中，《月光男孩》所获奖项一度与《爱乐之城》并驾齐驱。巴里?詹金斯（Barry Jenkins，文首图中）和塔雷尔?阿尔文?麦克拉尼（Tarell Alvin McCraney，文首图右）获得了最佳改编剧本奖。马赫沙拉?阿里(Mahershala Ali)获得最佳男配角奖，这是美国穆斯林男演员首位获得奥斯卡奖。
Self-driving cars, selfie sticks, drones, touchscreen devices, e-cigarettes, jetpacks, and many other things seem like fairly modern inventions. Indeed, most of their "inventors" list them as newly invented and even go as far as seeking patents. But the fact is, many of these "inventions" have already been in existence for quite some time. They may have earlier lookalikes that ended up not going into production or that went into limited production due to one reason or another. Some also made it into full production but were recalled due to poor sales.
The U.S. $10 bill will feature the portrait of a notable U.S. woman by 2020.
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:
Henda Ayari created a storm when she denounced radical Islam. Now, inspired by the #MeToo campaign, she has accused an Oxford professor of rape.
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.
The government also needs to adopt the Internet Plus governance to ensure that government services will be more easily accessible for our people.
During the RoboCup 2500 contestants from 40 countries competed in 15 competitions with various types of computerized soccer robots, healthcare robots, rescue robots and dance robots.
Gabriel: Well, there’s just one problem.
Emily: What’s that.
Gabriel: I like you.
The diplomatic row began when Ankara’s foreign minister was denied entry to the Netherlands on Saturday for a campaign rally in favour of Mr Erdogan’s constitutional reforms. Armed Dutch police also intercepted another Turkish minister, Fatma Betul Sayan Kaya, on her way to the rally in Rotterdam and escorted her back to the German border.
Brain death is a bit of an inconvenience if you're a fan of living, and if you're looking to replace yours with a spare, you're out of luck. Sure, maybe we'll one day be able to plant brains into skulls, but the brain's not just another organ. It contains all your thoughts and memories. They can plop a new brain in your head, but you'll still be gone, so the idea of making artificial brains may seem absurd.
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。
Net interest margins — the difference between interest paid on deposits and interest gained from loans — suffered as China lifted its remaining controls on the interest rates paid on deposits. The average margin declined by about 46 basis points to 2.54 per cent in 2015.