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 楼市筑底？2014年12月一线城市量价双升. 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.
These artificial ears will be a huge benefit to those who suffer injuries or who have microtia, a condition that keeps the ears from ever developing.
But closing the deal on RCEP less than a year after Donald Trump pulled the US out of the TPP would be a big win for Beijing.
Blind people smile even when they have never seen someone smile.
The same seven schools continue to dominate the top half of the ranking. AGSM at UNSW Business School of Australia entered the ranking for the first time in eighth position.
About 40 per cent of entrepreneurs did not seek any help when securing finance. Half of these raised equity purely from their own savings and/or family and friends compared with only 40 per cent of those who sought help from the school or alumni network.
Democratic frontrunner Hillary Clinton says that if she's elected president, at least half of her Cabinet will be women.
Aoki-san is a pleasure to work withon storyboard. With Aoki-san on the team it feels like a sure thing. The visionof these animations will be perfect.
Average years of work experience: 12
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.
The 62 universities account for 12.4% of the list. The only country with a larger number of universities listed is the US, which accounts for 27.8%.
However, another 876 jobs being offered have not registered a single applicant as of Tuesday, according to Zhonggong. For instance, nobody has so far shown any interest in becoming a railway police officer in Shanghai and Xi'an.
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 very best bosses I’ve seen are passionate about their work; they live and breathe their jobs and strive to do the best work possible. Yet at the same time, they have lives outside of work. They understand the need to balance family and work or play and work. And they set a good example of how to do that for their employees。
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.
6、Social media addiction
Rather than strangling the doctor (difficult, due to his injury) Jalava took the corny line as inspiration. He decided to go ahead and actually build a prosthetic finger that contains two gigabytes of digital storage. He can now jack his finger into a computer just by peeling back the nail to expose the USB plug. He can also remove the entire finger at any time and hand it to a friend to use.
The first is the establishment of the Aero Engine Corp. of China (AECC) last year, which consolidates Chinese aero-engine know-how and capabilities, indicating that the indigenous development of aircraft engines is now a strategic priority for China. This focus is even more striking when one realizes that China now has access to rhenium, a rare metal that helps create strong superalloys necessary for the manufacture of high-pressure jet engine turbine blades. Since the 2010 discovery in the Shaanxi province of reserves, which account for 7% of the world’s total, considerable effort has been made to exploit and process this metal. Moreover, a major technological milestone was recently achieved that opens the door for mass production of single-crystal turbine blades, a key component of modern jet engines. It is thus no surprise that one of the cornerstones of the newly established joint Sino-Russian widebody aircraft program is the development of a dedicated, state-of-the-art engine.
Gabriel: Well, there’s just one problem.
Emily: What’s that.
Gabriel: I like you.
The January-to-November period in the United States this year was the warmest first 11 months of any year on record for the contiguous states. And 2012 will likely surpass 1998 as the warmest year on record for the nation, according to the National Oceanic and Atmospheric Administration.
Mr Koepke warns that this could easily be upset by the Fed.
This year's Oscar-nominated musicians are going to take the stage at the Academy Awards ceremony.
2.Nobody here can answer any questions you have about fencing. Google it.
Exports to the EU, Japan and Hong Kong — which serves as a transit point for exports to many other parts of the world — fell by 4.1 per cent, 9.5 per cent and 12.2 per cent respectively.