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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 房租暴涨原因多 追问房租暴涨背后的几大疑点. 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.

debut
如果答案是“是”,那么也许你是D型人格的人。
2014届大学毕业生工作半年后,平均月收入为3487元,较2013届的3250元、2012届的3048元有了较大增长。
Will the Federal Reserve's path out of bond buying get bumpy?
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但3D版吉祥猴的形象却未能避开炮击,挑剔的网友纷纷吐槽:“这让我想起红绿灯!”;“水墨画的精髓全然不见”;“耳朵下面的两个球是什么呀,太抢镜了……”;“已被它丑哭。”
工业企业利润由上年下降2.3%转为增长8.5%;
adamant
什么温度的葡萄酒最好喝(图)
Note that grosses are not the same thing as earnings. Downey outearned Johnson by $29 million with $75 million in estimated earnings between June 2012 and June 2013, the period we used for the latest edition of our Celebrity 100 list. The numbers we’re looking at here are how many dollars each star’s movies brought in at the box office worldwide this year.
Most of those surveyed for the report mentioned that positive impacts of social media include socializing with acquaintances and taking in more information.
(Actually, JetBlue wasn’t the absolute worst airline for departure delays the last three holiday seasons. That crown went to Comair, a regional carrier for Delta Air Lines

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

新上榜学校中排名最高的是巴黎第九大学(Université Paris-Dauphine),排在第57位。
“The employee said she was going out to buy boots, but was never seen again.”
冲击奖项:如果这届奥斯卡最佳影片的提名数有9或10部电影的话,那么《逃出绝命镇》能占一个。乔登皮尔的剧本应该一定会被提名。
我判断摆烂不是看言论而是看球队动作的。所以,即使球队说他们没有摆烂,但是签了一大批落选的自由球员,同时报告明星球员伤病缠身,这时候你就知道,他们是在摆烂了。
In the most significant change in methodology since this ranking was first published in 2005, the FT now collects information about alumni’s first jobs after graduation. These data are used in conjunction with information about their current jobs, three years later. This allows the FT to calculate their salary increase since graduation — a new ranking criterion — as well as their career progress (see methodology).
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她向BBC透露称:“他们看到了一些非常可怕的事情,但是他们将在很长一段时间内继续接触这类事情。”

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:

So I don't know what will happen in 2014--and neither does anyone else. What I imagine, though, looks like this:
反对:可以把这部电影当作一部演技在线的影片,而不是一部真正伟大的作品吗?
7. Dental hygienist

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

as朝向,soci(同伴,社会)-成为同伴-联合
统筹城市地上地下建设,再开工建设城市地下综合管廊2000公里以上,启动消除城区重点易涝区段三年行动,推进海绵城市建设,使城市既有“面子”、更有“里子”。
The kitchen addition, about 40 feet long, was designed to be in keeping with the original house, with intricate ceiling woodwork and several colored-glass panels by Century Studios, a Minneapolis company that secured its glass from the Chicago manufacturer used by Frank Lloyd Wright. Stainless-steel appliances include a five-foot-wide range and a Sub-Zero refrigerator. The dining area opens to a back patio through 10-foot-tall glass doors.

“我们做事情不是为了追求利润,我们做事情,是因为这些事情是正确和公正的,”库克咆哮道。他说,不管是为了人权、可再生能源还是为有特殊需求的人们提供帮助,“我不考虑该死的投资回报率”。“直截了当地跟你说,如果这是你考虑的硬性因素……那你还是把苹果股票卖了吧。”库克的语气严厉,毫不妥协,那是苹果员工或许永远不希望面对的一个声音。
These artificial eyes have indeed restored sight to blind mice. And the follow-up experiments on monkeys offer a lot of hope for eventual trials on humans because monkey and human retinas work similarly.

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温州矿老板豪宅法拍 起价6000万

Gabriel: Well, there’s just one problem.

Emily: What’s that.

Gabriel: I like you.

The Dutch case involved sophisticated financial professionals, people accustomed to analyzing financial and economic trends. Yet, they too focused on their personal experience.
当然,影片中最惊人的一幕是外星人遇到一个涉世不深,外表因为多发性神经纤维瘤而丑陋的年轻男子,由亚当·皮尔森扮演。格雷泽带来的这一幕是全然无畏而且毫无感情波动的,或许这是从大卫·林奇的《象人》这部影片的主题变化而来。外星人并不会在本质上区分这位年轻男子的长相,但是她与这位男子相遇——两个外星人的遭遇?——触发了危机,使得她成为了猎物,而不是猎人。
他表示:“价格走低对利润下滑影响加剧”。

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达奇斯说:星巴克在社交方面总是排名前列,2012年也不例外。公司通过社交在2012年赢得了1900万新的粉丝,它针对用户在家和出门的产品也成为用户津津乐道的谈资。
Coordinated reform of medical services, medical insurance, and the medicine industry
complain
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明尼阿波利斯(MINNEAPOLIS)

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