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 网贷平台房贷业务整改大限迫近 何去何从？. 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.
Please accept our wishes for you and yours for a happy New Year.
The Global Obesity Epidemic
Other Chinese companies that filed a large number of patents included ZTE, Alibaba, Xiaomi, BYD and Haier, all of which are rapidly expanding into Europe.
Iron Man 3 is the highest-grossing movie of 2013 so far with $1.2 billion. But that’s not enough to put its star, Robert Downey Jr., on top of our list of the top-grossing actors. Dwayne “The Rock” Johnson beat him this year by working more.
Here are five things consumers and investors can count on (probably) in 2015:
'Gangnam Style' beat 'Call Me Maybe' as the most trending pop song and 'Skyfall' topped 'Prometheus' as the most enquired about film.
The controlled test takes two-and-a-half hours and, according to theories, Nishi's score and subsequentIQ of 162 would be two points higher than famous physicist Einstein.
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.
Some would argue that Carly Simon's theme to The Spy Who Loved Me is the best James Bond theme song ever. They may have a point, but maybe what's really going on is that this is just "the best song from a James Bond movie." It's a fun tune, catchy as hell, romantic and beautifully sung. But nothing about this seems to specifically evoke James Bond, his adventures, his history or even his films. "Nobody Does It Better" is still a winner by any estimation; there's just happens to be a reason why it didn't crack our top five.
佳士得把汉斯·梅姆灵(Hans Memling)于15世纪创作的佛兰芒风格圣母与圣子油画从拍卖会上撤掉，以350多万英镑私下出售，所以影响了这次的拍卖总额。该拍卖行的18世纪前绘画大师作品主管亨利·佩蒂弗(Henry Pettifer)说：“拍卖市场非常挑剔。新鲜作品的数量很少。”他指的是私人极少收藏有博物馆级别的作品。
Wuxi, in coastal Jiangsu province, retained the top spot for a second month with growth of 4.9 per cent,
Yao has been at the center of a hostile takeover battle for China's largest real estate developer China Vanke Co Ltd (000002.SZ).
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:
SplashData has revealed its list of the worst passwords of 2017, using data from more than 5 million passwords leaked this year – and, once again, ‘123456’ and ‘password’ top the list.
18. 最有趣的道歉（并列）。11月18日，《好莱坞报道者》发表了一份1200多字的道歉，因为它的“奥斯卡女星圆桌会议”没有邀请非白人演员出席。很快，导演亚历克斯·普罗亚斯(Alex Proyas)和狮门公司就为新片《埃及众神战》(Gods of Egypt)中的演员缺乏多样性而道歉。
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.
7. Viceroy's House
Statistics show global research and development expenditure grew at an annual pace of approximately seven percent before 2009, but slowed down to four percent in 2014
3. Tablets meet viruses.
Gabriel: Well, there’s just one problem.
Emily: What’s that.
Gabriel: I like you.
It can free up bartenders so they can make more drinks when it's busy.
Weaker demand from emerging markets made 2015 the worst year for world trade since the aftermath of the global financial crisis, highlighting rising fears about the health of the global economy.
Homing in on a brand that excels at making the kind of vehicle you’re looking for is an efficient way to focus your shopping and find the best car for you. The 2016 U.S. News Best Vehicle Brand awards recognize the best brands in four categories: Cars, SUVs, Trucks and Luxury.