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 家居产品定制化 LED照明定制化市场还会远么？. 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.
The Caixin-sponsored composite PMI for November came in at 50.5, the first time it had broken through the 50-mark separating contraction from expansion since July.
It's almost TOO good. Soulful and aching and grand, Adele's theme to Skyfall is stunningly performed, and gives the distinct impression that someone tried to make the ultimate James Bond theme and had the talent to back it up. History and sensuousness have elevated two songs higher than Adele's contribution, at least in our eyes, but not by much.
他会在自己的独唱专辑中尝试什么样的歌曲呢：《Sweet Creature》（《可爱的人儿》）和《Ever Since New York》（《自从来到纽约》）是温馨的原声抒情歌曲；而在《Kiwi》（《奇异果》）这首歌中，他大声地炫耀着自己的欢乐；《Two Ghosts》（《两只幽灵》）则是一首为分手而惋惜的歌曲。
The 500 brands come from 28 different countries, among which nearly half, 227, are from the US.
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.
According to the Chinese Academy of Social Sciences, China's migrant workers account for around 50 percent of the labor force in industrial and related sectors. Yet they don't enjoy equal rights as city dwellers because of household registration requirements.
WASHINGTON: Indiahas trimmed its holdings of US government securities to $77.5 billion at the end of October even as the world's largest economyis expanding at a moderate pace.
But the crash hit. The economy tanked. The recession lasted 30 months. Wall Street lost over $8 trillion of our retirement money. In the first decade of the 21st century, from the 2000 dot-com crash till 2010 disaster Wall Street's had a negative inflation-adjusted performance. Today Wall Street's returns are just barely beating inflation. No wonder investors feel cheated by Wall Street's casinos.
'She enjoys it and we don't force her to do anything she doesn't want to do.'
Still, experts see a crisis of white identity underlying much of the West’s current turmoil.
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:
"People can be unhappy for many reasons -- from poverty to unemployment to family breakdown to physical illness," the report said. "But in any particular society, chronic mental illness is a highly influential cause of misery. If we want a happier world, we need a completely new deal on mental health."
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 fact is that I really don't careabout the popularity and also really focus on my work. Every time I alwaysfocus on how best to proceed with the next scene. My focus is on the action andstory, never the popularity.
Experts say that 2016 was a remarkable year for the Chinese film industry as it realized growth while facing multiple challenges including the rapid development of the internet, the increasingly sophisticated tastes of Chinese audiences, and the economic downturn in the country.
For once, the Lakers are in good spot and don't have to rush into anything. Take some time. See what they have. They're not making the playoffs with that defense, but that's not really the point of this season anyway.
Gabriel: Well, there’s just one problem.
Emily: What’s that.
Gabriel: I like you.
An industry insider said the survey indicated that China was in the process of an industrial upgrade and a high value-added service sector was on the rise. This is leading to a thriving Internet industry, which needs science and engineering professionals, and a booming finance industry, which requires finance and economics professionals.
But we are going to get a taste of the new world order when the WTO’s members gather for its biennial ministerial in Buenos Aires in December. It’s unclear, as always, if the WTO will be able to deliver anything of substance. But the real test lies in not having the US leading the way in discussions for the first time in the WTO’s life. Will China step in? The EU? And will India be as minded to block any deal as it has been in the past?
Sun said he tried to pry open the elevator door, but dismissed the idea and instead leaned against the wall concerned there could be a malfunction that would send the elevator in a free fall.