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 广深港高铁车票开售 杭州到香港购票不紧张. 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.
德银资产管理公司(Deutsche AM)亚太区被动型资产管理部门主管马尔科?蒙塔纳里(Marco Montanari)也认为，在亚洲ETF市场迈向更高台阶之前，必须从根本上改革分销制度。
The prince said authorities could recover as much as $100 billion in settlements.
Jackie Chan, a kung fu star and a member of the CPPCC National Committee, raised his experiences about smoking bans in China and Singapore as an example. During a business trip, his colleagues still smoked after a warning from a security guard in Zhuhai, Guangdong province, but they didn't dare smoke when they arrived in Singapore because "it was strict about smoking there".
If you like your comedy with a side of heart-warming feels and poignant cultural commentary, please look no further than The Big Sick, about a comedian who falls in love with a heckler. Their backgrounds could not be more different, which is relatable to anyone in a mixed race relationship.
For parents, it is always a struggle to carry their children all day long, especially when they’re getting bigger and heavier.
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.
6. Ipoh, Malaysia-Around 200 kilometers north of Kuala Lumpur, the former British colonial city is now a foodie destination, where local street food and boutique cafes around.
Remedy: When we make a major decision such as accepting (or turning down) a job offer, we tend to exercise confirmation bias. If we think we made a good choice, we prioritize information that supports this view and if we fear we’ve made a mistake, we zero in on intel or impressions that reinforce this gut feeling. If you habitually doubt your competence when it comes to making career decisions, the issue is less about the subjective quality of your past choices and more about building confidence in your ability to guide your career in a satisfying direction and exert some degree of control over the outcomes of your choices. Addressing this could involve recalling the circumstances under which you made a particular choice and the priorities you held at the time and noting how they differ from the circumstances and priorities under which you’re evaluating those decisions. It could also involve working with a career coach to identify patterns in your decision-making and to help you bolster areas in which you’d like to increase your confidence – risk taking or negotiation, for example.
"They see some pretty awful things," she told the BBC. "But this is something that will stay with them for a long time."
This research involves a large longitudinal study of emotion in interactions within married couples.
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:
Exports had risen in renminbi terms last month as well, up 5.9 per cent. But when valued in dollars they grew only 0.1 per cent year on year to $196.8bn. Still, that was well above expectations of a 5 per cent fall after contraction had softened somewhat in October to 7.3 per cent.
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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.
Trade flows brought China’s balance of trade to $40.82bn, roughly $7.2bn below expectations and down about $3.6bn from November’s revised level of $44.23bn (previously $44.61bn). That balance came to Rmb275.4bn in local-currency terms.
States are falling all over themselves to be chosen as the site for Tesla’s proposed $5 billion Gigafactoryto produce lithium ion batteries. California is competing with Nevada, Arizona, New Mexico, and Texas, and the bidding for the factory, which could employ up to 6,500 people, is said to be up to $500 million.
Gabriel: Well, there’s just one problem.
Emily: What’s that.
Gabriel: I like you.
The stomach-churning finding is not the first to be exposed in the area. Police in Guangxi, along China's border with Vietnam, have stepped up anti-smuggling operations over the last year and have raided seven illegal food processors.
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Investors have noticed Honda’s troubles. The automaker was one of the very few worldwide to avoid deep losses during the global financial crisis. Still, its common shares are down 17.2% over the past year, while the Nikkei 225 Index is up 7.4% and Toyota Motor shares are up 19.5%.
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I know many of you met your former spouse at the company. But the thing is, for every one of you, there are five people it doesn't work out as well for. And your office romance can and will be held against you.
We'll start our review with the South American nations, and who else could we begin with, but the hosts Brazil. Rewind 18 months and they looked like they'd be struggling, but the appointment of 'Big Phil' Scolari has been inspired, and he's brought a belief to the team that was previously missing. Last years 3:0 demolition of Spain in the Confederations Cup final shocked many experts, and all of a sudden the Brazilians have expectations on them. Whilst you can't argue with that scoreline, we still wonder if Brazil have the firepower to win such a long tournament. Neymar is expected to conjure up the magic, but they're relying on Fred to come up with the goals. No disrepect to Fred, but the last two Brazilian teams to win the World Cup, in 2002 and 1994, could count on the likes of Ronaldo and Romario to lead the front line, two genuine legends of the game.