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 中国涂料经销商高峰论坛与您再约广州. 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.
Buyers looking for new construction will have more options next year, as the number of new condos hitting the market in Manhattan, Brooklyn and Long Island City, Queens, is expected to more than double to 8,366 from 3,444 in 2014, according to data provided by Corcoran Sunshine Marketing Group.
Everyone was hugely cheered that global greenhouse gas emissions were flat between 2014 and 2016, even though recorded global growth was OK. The trouble is that this wasn’t the improvement in global economic efficiency everyone celebrated, but just a slowdown in northern China. As this part of the world recovered its economic mojo in 2017, carbon dioxide levels began to rise again.
No. One way it could play out: after a tentative start involving lots of trading stops, bitcoin futures will slowly begin to attract institutional money. Commodity Futures Trading Commission positioning data will reflect the extraordinary long bias that exists for the product among money managers. As the huge cost of rolling futures positions becomes self-evident, longs will complain ever more loudly about routine divergences around settlement time. Just as a senate hearing is being scheduled to investigate potential manipulation of the market, futures prices will fall below spot, initiating a sell-off.
The charges of Russian hacking and Mr Trump’s evident defects of experience, judgment and character show that the college has not proved the bulwark Mr Hamilton hoped for.
As a measure of that fall, 10 works have sold at auction for more than $100 million since 2004, and all of them were made by modern or contemporary artists in the past 120 years. Older paintings have seen their value, in relative terms, level off or decline. The trend was plain to see in recent weeks, as London’s auction houses tried to find buyers for their latest tranche of old masters. As has been the case in recent years, there were few works by major names.
The research comes at a time of increasing anti-China rhetoric in US politics, and ahead of three politically sensitive anti-dumping cases this summer against Chinese steel imports that could result in the US imposing punitive duties of as much as 500 per cent.
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.
10. “移动珠宝”(Run the Jewels)，《移动珠宝2》，Mass Appeal。说到迫切和讥讽，杀手麦克(Killer Mike)和EL-P都是地下说唱界不同圈子里的资深人士了，他们组成的“移动珠宝”在第二张专辑里找到了坚实的互相吸引。他们的说唱强大有力，关注点狂热喧闹，专辑抨击没有让任何人摆脱困境的权力结构。
Chinese insurers saw their profits implode in the first six months of 2016.
The new numbers, reported by a tracking initiative called the Global Carbon Project and published in the journal Nature Geoscience, came on the eve of a United Nations summit meeting meant to harness fresh political ambition in tackling climate change. Scientists said the figures showed that vastly greater efforts would be needed to get long-term global warming within tolerable limits.
Similar to quick LinkedIn overhauling, Foss says employers will likely notice if you abruptly go from tweeting cat GIFs and "Game of Thrones" spoilers to posting thoughtful, industry-focused content and participating in job-search Twitter chats. These are generally good moves for your job search, but bad ones for keeping it under wraps, so again, take it slow。
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:
But there's little doubt this was also an 'acqui-hire,' in which the person being bought is just as important as the product. D'Aloisio is now working full time in Yahoo!'s London office, and his youth, his energy and his undeniable it-factor have brought the formerly musty tech giant a much-needed injection of cool. Yahoo! CEO Marissa Mayer -who lends the company some of her own it-factor-praises his 'commitment to excellence in design and simplicity' and says she is 'inspired by the creativity and tenacity Nick brings to his work.'
The Globes are unique in celebrating both film and television. Perhaps more than ever before, those lines were blurred Sunday, capping a year in which TV was much celebrated as the more dynamic storytelling medium. The beloved and now concluded 'Breaking Bad' earned some of the night's loudest cheers for its first Globe wins: best drama TV series and best actor in a drama for Bryan Cranston.
Never accept the job immediately. Say you need to think about it overnight. Once you sign on the dotted line there's no room for negotiation.
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.
The Man Who Knew, by Sebastian Mallaby, is the 12th winner of the ￡30,000 award, which goes to the “most compelling and enjoyable” title of the year.
Among the gargantuan hedge funds that make up a majority of the industry’s assets under management, dispersion of returns shot up to notable levels. And for every big winner, like William Ackman’s Pershing Square, there was a big loser to counterbalance it, like John Paulson’s Advantage Fund. Investors choose hedge funds for their “non-correlated returns,” meaning a tendency to move opposite from the general market’s direction. They certainly got such returns this year, unfortunately.
持有40亿美元亚洲相关资产的美国投资机构Cohen & Steers的基金经理梁纬濂(William Leung)认同这一点。他主张，随着价格下跌，投机性投资将被驱逐出市场。他补充称，行业中另类投资热度上升的趋势应当意味着，即便基础资产的价值上涨得更慢，房地产投资信托的价格也会上升。“我们认为，这次调整的幅度将不会太大，”他说。
Gabriel: Well, there’s just one problem.
Emily: What’s that.
Gabriel: I like you.
China is the most striking wild card that will drive agricultural markets, said Stefan Vogel, head of agri commodity markets at Rabobank,
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The Hidrate Spark 2 tracks your water intake by syncing with a mobile app and recording how many ounces of water you drink a day, which can also be tracked by remembering how many times you refilled your bottle labeled with the number of ounces on the side.
Born to royalty in Burma, Olive Yang, who died on July 31, rejected her birthright to become a cross-dressing warlord and opium trafficker.