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 海外购房“热” 你跟风了吗？. 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.
Since its launch in 2010, the 12306 ticketing system has been upgraded many times to fix bugs and provide better service during the Spring Festival travel rush, or Chunyun.
Jobs for photographers grew by about 22 percent in Q3. The report’s authors attribute the increase to employers “finally understanding the importance of high-quality pictures on their landing pages.” The desire to expand and improve websites through employing trained, creative professionals was something of a recurring theme throughout this list.
Whether China opens the stock floodgates or not will be a major price-driver in cotton and sugar — and potentially also in corn, soyabean or vegetable oil — markets in 2017, the bank said in its report.
For the government, the job is to create a good environment and the necessary conditions for our people to use their own wisdom and hard work to generate golden opportunities for themselves, rather than just relying on the government to hand them a job.
Of the 200 nominated companies, 101 are privately-owned, while the rest are State-owned enterprises. The total value of these 200 listed brands has risen by 36 percent year-on-year to reach $696 billion, with the top 10 accounting for 46 percent of the total value.
To Craig Bennett, Abigail Baird, Michael Miller, and George Wolford for demonstrating that brain researchers, using a combination of complicated equipment and simple statistics, can find meaningful brain activity anywhere, even in a dead fish.
Jiang Yiyi, deputy director of the Institute of International Tourism at the China Tourism Academy, attributed part of the dropoff in foreign tourists to the strengthening yuan.
Moonlight, an evocative coming of age story about a young gay black man, won best picture at the 2017 Oscars but was almost denied its victory in chaotic scenes when the award was mistakenly given to La La Land.
The raised decoration shows a cartouche — an oval frame around Egyptian hieroglyphics indicating a royal name. Above the frame archaeologists could make out the symbol of an eye and that of a cobra.
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.
But the developments also point to the vast gap in the use of such cases between the US and EU, where a debate is under way over whether to grant China “market economy” status in the World Trade Organisation, a concession that would make it even harder to bring anti-dumping cases.
The awards, announced during a ceremony in Amsterdam on March 14, are based on millions of international passenger surveys.
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:
We will push forward with structural adjustment in agriculture.
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.
I formerly had an Android device (even though I have had a MacBook since 2009 – weird, I know). After switching this summer, I quickly realized the power of iPhone “Reminders.” Each time a reminder is due, your iPhone buzzes and displays a pop-up. You can snooze it or mark as completed. In addition, you can set up recurring reminders, which are perfect for remembering to mail estimated quarterly tax payments, renewing subscriptions, running payroll and other things you tend to forget.
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“I thought teaching wasn’t a proper career option. My teacher said I’d need to have a high boredom threshold if I wanted to become a teacher,” he recalls.
Gabriel: Well, there’s just one problem.
Emily: What’s that.
Gabriel: I like you.
We'll start our review with the South American nations, and who else could we begin with, but the hosts Brazil. Rewind 18 months and they looked like they'd be struggling, but the appointment of 'Big Phil' Scolari has been inspired, and he's brought a belief to the team that was previously missing. Last years 3:0 demolition of Spain in the Confederations Cup final shocked many experts, and all of a sudden the Brazilians have expectations on them. Whilst you can't argue with that scoreline, we still wonder if Brazil have the firepower to win such a long tournament. Neymar is expected to conjure up the magic, but they're relying on Fred to come up with the goals. No disrepect to Fred, but the last two Brazilian teams to win the World Cup, in 2002 and 1994, could count on the likes of Ronaldo and Romario to lead the front line, two genuine legends of the game.
直到最近，Weill Cornell Medical College的科学家们至少在老鼠和猴子身上实现了这一点。这种人造视网膜，它的芯片可以将画面转换为电子信号，而它的微型投影机可以将电子信号转化为投影光线。
This assumes, of course, that Apple can find a way to build a $330 iPhone with cheaper parts, a slower processor, a lower resolution screen and perhaps a plastic body, thatisn't, in the phrase Tim Cook used at a Goldman Sachs conference last week, "a crappy product."
The report said that technological innovations and balanced development were the keys to building "cities of opportunity".