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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 发放变相“现金贷” 上百“回租贷”平台锁定大学生. 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.

Before becoming Germany's top trading partner, China was Germany's largest trading market in Asia. Germany has been China's top trading partner in the European Union for the last 2 years.
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You qualify as a type D personality if you scored 10 or higher on both Negative Affectivity and Social Inhibition scales.
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The annual rich list of China's movers and shakers gives a temperature check on where money is flowing in China, and underlines the growing financial muscle of the country's super-rich.
它有力地提醒我们,性革命、女性进入职场、消费主义的盛行以及太空时代都有阴暗的一面,有些人在其中受到了伤害。这是该剧具有强大影响力的一个原因。
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每一次我们詹姆斯已经达到了顶点,詹姆斯就会拿出更好的表现超过那个顶点。他那无所不包的各项技巧,是詹姆斯辛苦训练的证明。你可以嘲笑他所提发布的所有Instagram录像,但这些都是他仍然能够做到这一点的真正原因;詹姆斯从来不轻视他的每一场比赛,一次都没有。结果便是晚上一次又一次无可比拟的表演。

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

还有一项高管教育综合排名,基于定制课程和开放课程两项排名的评分计算,列出了高管教育最佳的50所学校。
多年以前,布莱恩·克兰斯顿还未在《绝命毒师》中饰演沃尔特·怀特,他曾和哥哥一起在一家餐馆打工。那儿的主厨是个非常刻薄的人。2011年,在马克·马龙的电台节目里当播客时,克兰斯顿如此描述道:"无论你对他多好,他还是讨厌你。"因此,所有的服务生平时都在谈论着如何谋杀他。克兰斯顿说这就是"他们平时讨论的所有内容"。
8. “The Diary of a Teenage Girl” In her terrific feature debut, Marielle Heller traces the artistic and sexual awakening of a 15-year-old (a sensational Bel Powley) whose desires leads to adulthood.
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What Mr Ravenscroft liked about it when he was choosing his graduate career path was that it of-fered the best of two worlds. He would be fast-tracked into the classroom, earning a salary, being mentored by an executive from the private sector and making contacts with business; in return, he would commit to teaching for two years and complete a teacher training qualification.
According to exam questions and some test-takers' feedback posted online after the exam, the difficulty of the questions was moderate and hot political and social issues, such as the Long March rockets, China's foreign affairs, the Yutu lunar rover and entrepreneurial efforts by college students, were mentioned.
It was the season of Light, it was the season of Darkness…

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:

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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

单词refrigerator 联想记忆:
n. 摘要
adv. 严格地

She then turns back and pecks the man on the cheek, as the crowd erupts in cheers around them.
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Gabriel: Well, there’s just one problem.

Emily: What’s that.

Gabriel: I like you.

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Turkey’s foreign ministry angrily rejected the EU criticism. “The EU should realise that the statement fuels extremism, such as xenophobia and anti-Turkish sentiments, because the call to refrain from excessive statements and actions that risk further exacerbating the situation is made only to Turkey, instead of the countries that caused this situation by violating diplomatic conventions and international law,” it said.

伊纳里图表示:“我差点忘记感谢所有参与拍摄的美国印第安人了,没有他们,这部电影不可能拍摄出来。我能够和这些人一起活着拍完这部电影,心中的惊喜和骄傲难以用语言表达。”
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And the public chose Callabro to be crowned this year's winner, where they will take home a £250,000 cash prize and a spot at this year's Royal Variety Performance.
Last week, Lu was appointed director of the office for Beijing's Leading Group of Promoting Beijing-Tianjin-Hebei Integration Development, a move to accelerate Beijing's moves to coordinate with Tianjin and Hebei province.
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A new report released just last week confirmed that many of us are still using the word 'password' to access our accounts.

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