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 营收净利双增超四成 福建阳光集团高质量发展成亮点. 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.
The joint programme delivered by IQS of Spain, Fu Jen Catholic University in Taiwan and the University of San Francisco saw the biggest rise. Its Master in Global Entrepreneurship Management jumps 34 places to 43rd, making up for a drop of 19 places the previous year. The only programme to be delivered on three continents, it is ranked top for international course experience.
201011/117323.shtmlThe French actress will star alongside Ryan Gosling, Michael Fassbender and Natalie Portman.
Economic forecasters are counting on 2014 to be a breakout year. But whether the economy finally moves past its sluggish growth will rest on several forces playing out differently than they have since the recovery began. Some of the key questions:
Among these six US schools, Rutgers Business School in New Jersey is the highest new entrant at 70. WP Carey School of Business at Arizona State University is the highest returning school at 57. Moore School of Business at the University of South Carolina returns at 77. Moore stands out for being top overall for international course experience. Its students spend from several months to a year overseas.
3.Sit in the Front Row
Whatever the underlying cause, last year’s extreme warmth in the West meant that Alaska, Arizona, California and Nevada all set temperature records. Some parts of California essentially had no winter last year, with temperatures sometimes running 10 to 15 degrees above normal for the season. The temperature in Anchorage, Alaska’s largest city, never fell below zero in 2014, the first time that has happened in 101 years of record-keeping for the city.
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.
今年的英国《金融时报》和麦肯锡年度最佳商业图书奖(Financial Times and McKinsey Business Book of the Year Award)，颁给了一部描写前美联储(Fed)主席艾伦.格林斯潘(Alan Greenspan)的传记，其内容引人入胜、面面俱到。
Elsewhere, Australia recently introduced reforms that have increased transparency around fund pricing, which has driven rapid growth in ETFs.
6. Ipoh, Malaysia-Around 200 kilometers north of Kuala Lumpur, the former British colonial city is now a foodie destination, where local street food and boutique cafes around.
Holly Hunter reportedly keeps her best actress award, which she won for her portrayal of Ada McGrath in the 1994 New Zealand film, The Piano, at the New York offices of Joel and Ethan Coen. It sits alongside the statue Frances McDormand won for her role as the heavily-pregnant local police chief with the insatiable appetite, Marge Gunderson, in the Coens’ 1996 film Fargo.
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:
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.
LONDON — Since its inception in 2002, the Saturday Profile has aimed to bring to readers of The New York Times people around the world they probably have never heard of, but who have led interesting lives and done extraordinary things, or perhaps recently gone through a remarkable experience.
That put outbound investment for October at $8.3bn, according to FT calculations based on official data, for a year-on-year fall of 26.5 per cent.
Late last year, the World Health Organization declared that Zika virus was no longer a global emergency. But the disease’s effects on babies who may live for decades are only beginning to be understood. In northeastern Brazil, where links between the virus and birth defects like microcephaly were first detected, families struggle to give the best lives possible to stricken babies. Researchers hope to find clues about the virus’s effects on the fetus by studying pairs of twins in Brazil in which one was born with birth defects and the other was not.
Gabriel: Well, there’s just one problem.
Emily: What’s that.
Gabriel: I like you.
Puerto Ricans have been hit with dozens of new taxes in the past four years and increases in utility bills as former Gov. Alejandro Garcia Padilla aimed to generate more revenue for a government he said was running out of money. Despite those and other measures, the island’s government has defaulted on millions of dollars’ worth of bond payments and declared a state of emergency at several agencies.
Wardrobe malfunctions was another common theme. Some hapless interviewees “showed up in sweatpants,” one “was wearing mismatched shoes,” and another “didn’t realize his zipper was down.”
7. Viceroy's House
People (read: your boss) will notice if you go from sporting a uniform of jeans and a T-shirt to showing up in a tailored suit on interview day. This is all the more reason to take the day off from work to interview, but if you don't, dress as usual at the office. And then, Foss says, "leave the premises, and stop in a McDonald's parking lot on the way to the interview to change."
值得注意的是，本年度传播假消息之首的网站域名当属“abcnews.com.co.” 在十一月的一次Verge的采访中，伊利诺伊州大学信息科学学院的Nicole A. Cooke教授引用了一个假新闻网站上的消息，这个假新闻网站使用的是危险和普遍的策略，即域名和真网站看上去只有微小的区别。他们让消息源从第一眼看上去具备真实性。管理abcnews.com.co的人告诉华盛顿邮报，他相信他的网站在特朗普大选期间充当了一个重要的因素。
My heart is my New Year present to you.我的心就是我奉献给你的新年礼物。