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An American in Paris Watches ‘Emily in Paris’

Courtesy Netflix

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 曾经“铁杆”成沧海 雷士照明经销商争夺战一触即发. 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.

Courtesy Netflix

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.

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美国在2014年的新增工作岗位被设定为300万个—这是自1999年以来最大的增加量。新增工作岗位的增加预计在2015年将会对得到持续,这将确保消费者支出得到持续的动力;同时汽油价格的下降也将为家庭支出节省额外的开支用以购买其他的商品和服务。详见:汽油价格在2014年下降美国将会节省140亿美元开支。
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When things do go wrong, Mr Cook takes swift and merciless action. In late 2012, after the premature launch of Apple’s flawed Maps app, he dismissed Scott Forstall, who led the creation of iOS and was a close ally of Jobs, and John Browett, the former Dixons chief who had led Apple retail for less than a year. The actions sent a message that Mr Cook will not tolerate underperformance or internal politics.
The .40-calibre Smith & Wesson that killed her, a semi-automatic handgun, was seized by police to undergo ballistics testing to determine if it had been used in other crimes.
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A hilarious video showed the swaying crowds singing Can’t Take My Eyes Off You and Hey Baby to the laughing young woman in Bordeaux.
At school, even in kindergarten, you teach us to behave in the world. You teach us: not to fight with others, to respect others, to clean up our mess, not to hurt other creatures, to share - not be greedy. 在学校,甚至在幼稚园,你们大人教我们如何处世,你们告诉我们不要打架,要尊重对方。找出答案,解决矛盾。去分享,而不是贪婪。

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.

Courtesy Netflix

9.消防员
我们的前路应有尽有,我们的前路一无所有……
The overwhelming weight of the coverage of the oil market by analysts and commentators concentrates on the supply side and the volumes being produced and exported from Saudi Arabia or elsewhere. Supply is important but costs matter more.
NASA和另一个保持长期气温记录的美国机构、国家海洋和大气管理局在上周五发布了各自的数据汇编,证实了2014年是创纪录的一年。一家日本机构曾在一月初发布初步信息显示,2014年是最热的一年。
与此同时,预计出口将继续下降,原因是全球需求疲软而价格上涨,以及中国实际上决定让人民币汇率再度盯住正在走强的美元。
So, what does that mean for oil prices in 2015? It is anybody’s guess, but here are the top five variables that will determine the trajectory of oil prices over the next 12 months, in no particular order.
The former pupil at Audenshaw's Poplar Street Primary is studying at Withington Girls' School and starts at Altrincham Grammar School for Girls in September. She lives with her parents, Neelanga and Shiromi, who moved to Manchester from Sri Lanka in 2001. Dad Neelanga, 44, praised Nishi's first teachers at Poplar Street Primary. He said: 'We knew very early on that she was gifted. She started reading and writing very early and was became very good at mathematics. We gave her challenging, interesting things to do. As a parent, you do not want their talents to be wasted, but there has to be a balance with their childhood. She is just a normal 10-year-old, just like any other 10-year-old really. She loves reading, cycling and walking, and we're all very proud of her.'

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.

Courtesy Netflix

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:

该项目曾在2006年荣获亚军,并在2008年斩获冠军头衔。
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In dollar terms, imports plunged 18.8 per cent last month to $114.19, from a 7.6 per cent drop in January and versus an expected drop of 3.6 per cent.

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.

Courtesy Netflix

Song “Fire In The Winter”(Kenji Wu and Dream Chorus)
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10. Michelle Jenneke
或许纯粹是巧合,但Magento首位产品经理蒂姆o舒尔茨也刚刚加入Bigcommerce,出任产品管理高级副总裁。舒尔茨近年来担任谷歌Shopping Express、Wallet等服务的战略合伙和商业发展高管,未来将专注于Bigcommerce的一站式体验,将电子商务和实体零售更好地结合起来。“消费者想要无缝化体验,”他说。

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Gabriel: Well, there’s just one problem.

Emily: What’s that.

Gabriel: I like you.

……睡着了。
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自迈克尔?哈内克之后,再没有人像希腊导演欧格斯?兰斯莫斯那样喜欢在电影作品中解剖社会习俗了。两年前,他的电影《龙虾》用其看待社会的辛辣视角完全征服了戛纳电影节。在《龙虾》描述的社会中,如果成年人无法在45天内寻找到一个爱侣,就会变成动物——这也是我们的世界,只是将集体思维和从众性推向了最大的极限。如今他又带着新作《圣鹿之死》回归,这是关于一个外科医生(科林?法瑞尔饰)和他的妻子(妮可?基德曼饰)的家庭惊悚电影。这位妻子也是一个医生,她像朋友一样对待没有父亲的少年马丁。马丁似乎决心暴露这个家庭的秘密,并揭开这对夫妻过去的一段可怕的创伤。这部电影想表达的难道是家庭(也有可能是社会)的平静有时候依赖于共享商定的谎言?不管是不是,准备好接受惊吓吧。该片将于11月9日在丹麦上映,11月16日在俄罗斯上映,11月30在中国香港上映。(A24制片公司)

年龄对詹姆斯仍不是问题
以下是人们经常用来描述自己的一些句子。
Age: 46
She’s No. 1: Chancellor Merkel has made the list eight times out of the past ten years — seven times as No. 1.
The letter surfaced in a Pennsylvanian university mailroom earlier this month.
Learn to control your emotions, control your thoughts, get over fear of rejection and learn to open up.

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