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 屡挫屡战 欧普照明IPO再上会. 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.
位居榜单第三的是史蒂夫·卡瑞尔（Steve Carell）。《卑鄙的我2》（Despicable Me 2）在今年大获成功，斩获票房9.19亿美元。该电影系列累计已取得14亿美元的全球票房，该系列第三部《小黄人》（Minions）也即将上映。卡瑞尔今年还出演了小制作独立影片《迷途知返》（The Way Way Back）和《超级魔术师》（The Incredible Burt Wonderstone）。后一部影片的票房虽未能赚回制作成本，但是我们这里只关注票房收入——该部影片为卡瑞尔2013年的电影票房收入又添2,250万美元。
As economic growth has slowed, policymakers have become increasingly concerned about the pace of lending. Banking assets increased by more than Rmb72tn ($11tn) last year, according to figures from the banking regulator.
你可能觉得我们对于列清单的爱好是从“十诫”继承而来，但安伯托·艾柯( Umberto Eco)的说法却正相反，“清单是文化的起源”，他写过一本书，《无限的清单》(The Infinity of Lists)，书中在讨论自己熟悉的东西时这样说道。而且，文化希望“让无限变得可以理解”，并且“创造秩序——不是永远如此，但通常都是这样”，所以才有了荷马在《伊利亚特》中的人名清单，以及你冰箱上贴着的，永远做不完的家务清单。“我们喜欢清单，因为我们不想死，”艾柯还说，这可能是对“清单体”(listicle)的最佳解释了。
Summly attempts to solve this problem by creating “snapshots” of stories that allow readers to browse more quickly than reading full articles. The app will close down but Mr D’Aloisio’s technology will be integrated into Yahoo’s mobile apps.
不会。结束罗伯特穆加贝(Robert Mugabe)长达37年的执政（军方在这件事上也帮了点忙）后，埃默森姆南加古瓦(Emmerson Mnangagwa)承诺在2018年举行自由选举。这引出了一个问题：他可能会输掉大选。他至少要装作选举是公平的，因为他需要政治献金来扭转经济。这将意味着要推行选举改革——可能会让其不受欢迎的非洲民族联盟-爱国阵线(Zanu-PF)输掉选举。即使姆南加古瓦准备好在选举中赌一把，还不清楚军方愿不愿意。已经把自己的人推上台的津巴布韦将军们，不太可能会容许公众再把他踢下去。
Warm hearted wishes for a happy New Year filled with all your favorite things.
Do you routinely roll your eyes? Do you have a weak handshake? Do you avoid making eye contact? These could all be career killers. People must understand that actions speak louder than words. And the majority of our communication is done through non-verbal cues. People could perceive some of your non-verbal communication habits as rude or unprofessional—and these things could eventually have a significant impact on the advancement of your career.
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.
伦敦商学院(London Business School，见上图)荣登2014年英国《金融时报》欧洲商学院排行榜榜首，该学院上一次夺得冠军宝座是在2005年。法国巴黎高等商学院(HEC Paris)和西班牙企业商学院(IE Business School)分列二、三位。
NBS senior statistician Sheng Guoqing attributed the slowdown mainly due to a 1.4-percent decline in food prices, which were down for the first time in 15 years.
"The autonomous region has invested 4 billion yuan (around 600 million US dollars) to promote industries with local features in poor areas, and relocated 77,000 poor people last year," said Lu Huadong, deputy director with the office.
Xinhua reported in 2015 that the MOE and five other central government departments were putting together a task force to ensure that football thrives in the country's schools.
Good luck, good health, hood cheer. I wish you a happy New Year.
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:
China's online game revenue in 2008 was CNY20.8 billion, accounting for about 27% global share, ahead of South Korea at 21% and slightly behind the U.S. at 29%, according to an earlier report by Shanghai-based market research firm iResearch. The firm also predicted that China is likely to surpass the U.S. to become the world's largest by the end of 2009.
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.
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.
One such development is 60 Water Street in Dumbo, a 290-unit rental with a 24-hour concierge and a roof deck offering Manhattan views. Leasing begins next month, with rent for a two-bedroom starting at a jaw-dropping $6,018 a month. “People want that condo-like living, even though they’re renting and not owning,” said Jodi Ann Stasse, the managing director of new developments for Citi Habitats.
Gabriel: Well, there’s just one problem.
Emily: What’s that.
Gabriel: I like you.
Company: (Wonderbag) Natural Balance
According to Feng Zhenglin, head of the Civil Aviation Administration of China, weather accounted for 56.8% of flight delays in 2016, up from 29.5% the previous year.
The auction house says seven records in all were set at the Geneva auction including the highest amount ever paid for a yellow diamond - $16.3 million for the 100.09-carat Graff Vivid Yellow diamond ring.