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 杭州房屋租赁登记备案可网上办理了. 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.
For: The Los Angeles Critics Association gave it their top prize.
In the meantime, here’s a fun song that’s been written by one of my readers, Libby Russell that all football widows will identify with. Enjoy! Thank you for sharing, Libby. It’s brilliant!
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Wang Chunfa, executive secretary of the China Association for Science and Technology, has expressed deep concern over the retraction, which came just days after he met in Beijing with Arnout Jacobs, the head of Springer Nature for Greater China.
The Lost Tomb is an action and adventure TV adaption of a popular online novel by Xu Lei. This is the first seasonal online TV series in China and the novel is scheduled to be dramatized in eight seasons, one season for each year. The first season was released in June of 2015. The novel series of the same name is about several people`s adventure in ancient tombs, and it enjoyed a wide readership since it was released online in 2006. Thus the adapted TV series had been accordingly highly expected by its fans but turned out to be disappointing. Although there were 24,000,000 hits on the web within the first two minutes of its debut, the season was later criticized by the audiences for its weak storyline and poor quality. Some lines of the series even became jokes on the social media.
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。
4. We can’t go into detail on this matter.
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 book is true to the character and keeps him as fans would want him, which is as the original hard-bitten guy,' he said.
The requirements come from one of two newly issued regulations over the taxi and online ride-hailing services by China's transportation authority. The regulations will take effect in October and November respectively.
但经济学家总体上预计，一旦飓风造成的失真消失，前段时间的趋势就有望恢复并延续。接受《华尔街日报》最新月度调查的45位经济学家预计，到明年6月，失业率将降至7.8%，2013年年底将降至7.5%。部分经济学家说，就业增长可能会摆脱现在的缓慢速度而加快。信安环球投资有限公司(Principal Global Investors)经济学家鲍尔(Bob Baur)说，我觉得到时候企业将必须招人。[qh]
In local currency terms exports managed slight growth of 0.6 per cent last month, besting expectations of 0.1 per cent contraction but still down substantially from growth of 5.9 per cent in November. Imports grew 10.8 per cent in renminbi terms, more than double the expected 4.8 per cent but down 2.2 percentage points from the month prior.
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:
Analysts survey by Bloomberg expected a rise to 1.9 per cent in January.
补救办法： 做预算。 如果你不能估算需要多少钱才能过上令你感到舒适的生活，你就无法确切地知道为了1万美元薪水而换工作是否真的划算。在比较新、旧工作时，列出各自的优缺点，这会对你很有帮助。如果新工作只是薪水更高一点，那么你可以比较下这个工作是否要求更长的工作时间和完成更多的工作任务。请记住，调查表明：年收入在7.5万美元以内，幸福感会随着薪水的增加而增加，但是一旦薪水超过这个水平，幸福感的增加便不再明显。因此，如果你认为薪水增加到8.5万或9万美元会使你更加快乐，这时你或许应该着手解决生活中那些与金钱无关而引起的不快乐。
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.
“We have not really assumed China will get better in the rest of the year,” said James Quincey, Coca-Cola’s chief operating officer. He said juice sales fell double digits in the second quarter in the country and Coca-Cola drinks dropped single digits.
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Comparing regions within specific categories of costs, the EIU notes that Asian cities are the most expensive for grocery shopping, with Seoul in South Korea the priciest for food. European cities are the most expensive in terms of recreation and entertainment.
Gabriel: Well, there’s just one problem.
Emily: What’s that.
Gabriel: I like you.
Elsewhere, Stockholm School of Economics was a big winner, climbing 16 places to 28, not only recording the best year-on-year progression but also recovering from a drop of 11 places last year.
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After IMD in second place, Duke Corporate Education completes the custom programme podium. It is the third year in a row that the US school is in third place, having previously topped this ranking for a record 12 consecutive years to 2014.