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 全国建材家居4月销售上涨三成. 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.
Insead is distinguished not only by its one-year programme but also a strongly international culture, based upon its two campuses, and one of the most extensive and diverse alumni networks. The programme is ranked third for the international mobility of its alumni and sixth for international course experience.
McGowan was born into the polygamous Children of God Cult and ran away from home in her teens.
Contrary to the consensus view -- which assumes that smartphones in China will only get cheaper -- she cites research showing that the average selling price stablized last yearand has actually started to increase as Chinese users trade up to higher-quality smartphones.
To see that businesses and the public benefit more from our reforms to streamline administration, delegate powers, and improve regulation and services, we must cut red tape, level the playing field, provide greater convenience, and remove that last crucial hurdle.
在排名靠前的学校中，英国华威商学院(Warwick Business School)排名提升最大，从第16位提升至第9名。整体而言，上海交通大学(Shanghai JiaoTong University)的上海高级金融学院(Shanghai Advanced Institute of Finance)排名提升最大，从第28位提升至第14位。
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.
Inflation (and deflation) won't rear its ugly head Surging oil production — along with slower global growth — has caused the price of petroleum to collapse from more than $100 a barrel last summer to barely $50 a barrel at the end of 2014. The effect has been to reverse an uptick in U.S. inflation earlier in the year.
In fact, academic research suggests that other economic and social transformations unfolding at the same time have led many people to anchor themselves more fully in their whiteness — even as whiteness itself has lost currency.
"Producer prices remain in deflation because of falling commodity prices," said Moody's Analytics before the report.
“Domestic demand expanded at a sluggish pace while new export order growth eased to a five-month low ... We continue to expect further monetary and fiscal easing measures to offset downside risks to growth.”
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:
China has become the world's largest industrial robot market since 2013, and currently its domestic suppliers are moving up the supplier chain by offering more high-end products in recent years, added the report.
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.
Although Facebook is blocked in China, Tencent has linked WeChat to Facebook, which means that users outside of China can use the service in conjunction with the world's most popular social network. That is a boon for WeChat in Southeast Asian countries like Indonesia, Thailand and the Philippines, which have large numbers of Facebook users. Tencent has offered WeChat in languages for all three markets.
Temperatures in 2015 also shattered the previous record set in 2014 by 0.13C, according to Nasa.
China denies any wrongdoing and says it is working to tackle problems of industrial overcapacity that have become more acute as its economy has slowed.
Gabriel: Well, there’s just one problem.
Emily: What’s that.
Gabriel: I like you.
However, 2016 saw the rise of Chinese mobile phone-makers. Huawei shipments grew 30.2 percent year on year to 139.3 million units, and the company retained its No. 3 position globally.
The report said that technological innovations and balanced development were the keys to building "cities of opportunity".
英国大选就是个教训。民调也不过是戛纳的“外卖餐点”：预测是傻瓜才干的事。一整周，坊间盛传托德?海因斯的女同性恋恋爱故事《卡罗尔》将斩获金棕榈最佳影片奖，或者拉斯洛?杰莱斯László Nemes 处女作《索尔的儿子》Son of Saul将折桂。最后几天，共识则是来自台湾的导演侯孝贤（Hou Hsiao-Hsien）指导的《刺客聂隐娘》（The Assassin）将问鼎大奖。且据英国博彩分析，《龙虾》是个难缠的对手。但是，最终宣布雅克?欧迪亚Jacques Audiard's 《流浪的迪潘》Dheepan获奖时，大家一致惊讶表示：“真的吗？”所有的评论员、影评人小组、内部八卦、数据统计、上帝都知道，只是少有人提及罢了。好吧，这就是生活。
Star Wars: Rogue One is set to release on December 16, 2016.
Three leading energy agencies recently said production from outside the Organization of the Petroleum Exporting Countries would increase this year, much of it from U.S. shale. Added to that is the possible return to market of millions of Middle East barrels as Iran, Iraq and Libya potentially ramp up production. All of that is set to press on prices.
No.35 娜塔丽·波特曼娜塔丽·波特曼（Natalie Portman ，1981年6月9日－），出生在以色列，美国好莱坞著名女演员之一。她曾获得过金球奖，并获得奥斯卡奖提名。美国哈佛