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 2016中国涂料产量达1899.78万吨 稳居全球第一. 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.
Nine out of the top 10 have all worked with Victoria's Secret in some capacity, with curve model Ashley being the only exception.
200911/88512.shtmlDuring NATO’s 1999 air war over Yugoslavia the Atlantic alliance struck hundreds of targets over Serbia and Kosovo. Most were uncontroversial: air-defense sites army headquarters and other military targets. The destruction of one target in particular however set off a wave of anti-Western—and anti-American in particular—protests half a world away. That target was the Chinese embassy in Belgrade.
In the MBA ranking, LBS, Insead and Spain’s IE Business School are bunched together with only a few dollars between them. Insead has the top salary at $155,015.
Video editors likely benefited from the same factors that caused the increase in photography jobs. It stands to reason that this kind of work expands alongside the need for increasingly sophisticated and appealing website designs.
1.You Aren't Learning Anything New
Murietta belonged to a gang known as the Five Joaquins, who were notorious bandits during the height of the California Gold Rush. While Murietta's criminal activity likely did not have any political undertones, he nonetheless became a symbol of Mexican resistance as American settlers ventured to California. Unfortunately for him, this pushed the government to put a bounty on his head, leading to his murder and beheading. Luckily, Banderas's character didn't fall to the same fate.
In the annals of climatology, 2014 surpassed 2010 as the warmest year. The 10 warmest years have all occurred since 1997, a reflection of the relentless planetary warming that scientists say is a consequence of human activity and poses profound long-term risks to civilization and nature.
在屏幕前对女主人公大喊“不要在深夜独自下楼”，不再是徒劳无用的了。在这款互动式惊悚游戏中，玩家可以控制游戏人物的行动。游戏的剧情由电影制片人拉里o法森顿和格拉哈姆o雷兹尼克与游戏开发商Supermassive Games精心打造。故事中，八位好友被困在遥远的山区度假村，还有一名不受限制的精神病人。游戏群星云集，其中包含《神盾局特工》（Agents of S.H.I.E.L.D）的演员布雷特o道顿，美剧《纳什维尔》（Nashville）的演员海顿o潘妮蒂尔和《极品飞车》（Need for Speed）的演员拉米o马雷克。玩家将控制各个角色探索这个恐怖的世界，试图在黎明到来时存活下来。没有人是安全的。在游戏中，每一个决定都会导致不同的结果。游戏剧本长达一千余页，拥有数百个不同结局等待玩家发掘。蝴蝶效应使得游戏不会有相同的剧情，而唯一不变的是，这款游戏十分惊悚。不要独自一人或是在深夜里尝试它。
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.
NPLs rose from 1.25 per cent of total loans to 1.67 per cent by the end of 2015, amounting to Rmb1.27tn held by commercial banks.
在我们有别于从前的失常状态中，她用所需要的一切使人们联想到生活的失重感。“这是一个时代的终结吗？这是美国的末日吗？”她在《When the World Was at War We Kept Dancing》（《当世界陷入战争之中，我们要继续跳舞》）这首歌中吟唱着。“不，这只是开始。”
Instead it ticked upward slightly to 8.3 per cent.
Dirk Philippa, portfolio manager of Fidelity International’s global property fund, has also cut investments in Hong Kong from a 6-8 per cent overweight two years ago, relative to benchmarks, to a 1 per cent overweight position.
It will be a year when the automaker begins selling its first airplane, the HA-420 Hondajet for general aviation, as well as a new hydrogen fuel-cell vehicle, the FCV. Honda will return to the Formula One circuit with a new race car. The cherry on top may be Acura NSX, a gas-electric hybrid supercar that will be built and sold in low volume.
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:
President Obama leads the pack. On top of the $400,000 a year, he gets a tax-free expense account worth $50,000. The salary was last raised by Congress in 2001.
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.
Please accept our wishes for you and yours for a happy New Year.
Gabriel: Well, there’s just one problem.
Emily: What’s that.
Gabriel: I like you.
HOW MUCH: $2,050,000
I know a lot more about you when you walk in the door than you realize. I'll search for you on the web and often use my own personal network to do a pre-interview reference check.
CareerCast.com, a career website owned by Adicio Inc., ranked 200 jobs from best to worst based on five criteria: physical demands, work environment, income, stress, and hiring outlook. The firm used data from the Bureau of Labor Statistics and other government agencies to determine the rankings. As in prior years, the 200 jobs were selected for their relevance in the current labor market as well as the availability of reliable data.