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 广州公积金公众号上线新功能 公积金可刷脸登录. 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.
通用汽车公司（General Motors）帮助改善了大峡谷州的就业前景。今年3月，这家汽车制造商宣布，计划在凤凰城郊区钱德勒建设该公司的第四座信息技术创新中心。通用汽车预计将雇佣1,000名员工，主要包括为这座新中心效力的软件开发人员、数据库管理员和系统分析师。通用汽车公司首席信息官兰迪?莫特（Randy Mott）在新闻稿中宣布了这个举措，他表示，“大凤凰城地区是出色的枢纽，吸引了新兴技术人才——从大学毕业生到职场专业人士。”
As the stars' private jets swooped in, the internet was going mad for 'the Dad bod'; the slightly flabby male physique was trending and there were plenty of examples on screen. Deborah Cole of AFP noted a “sweating, panting and shirtless” Gerard Depardieu in Valley of Love and a flash of Joaquin Phoenix's “tubby tummy” in Woody Allen's Irrational Man. When Colin Farrell strode the red carpet for the premiere of The Lobster, he looked his usual trim self – but in the film he is distinctly paunchy. To add some girth for the role of a lonely singleton in Yorgos Lanthimos' absurdist black comedy, Farrell went on a massively calorific diet that included drinking melted ice cream, he told the Hollywood Reporter. Eating “two cheeseburgers, fries and Coca-Colas, and two slices of chocolate cake at 10am is not that fun,” he said. “And I love cheese?burgers."
They were discovered in the modern-day Jiangsu Province near Shanghai inside the ancient tombs belonging to the rich and powerful.
Critics have been eager to point out that he is not so closely involved in new product development as his predecessor, and fails to elicit the same excitement when he takes to the stage to introduce them. But Mr Cook is aware of his shortcomings and has drawn on the worlds of fitness and fashion to assemble a new team of talents, including Angela Ahrendts, formerly of Burberry, and industrial designer Marc Newson.
The report said families back home receive an average of $200 a month, which makes up 60 percent of the household income.Using the steady flow of remittances, families can buy food, get housing, go to school, access healthcare, improve sanitation, or even invest in a business and have some savings, the report said.
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.
‘Episodes’ This comedy on Showtime, too often overlooked, follows the bewilderment of two British TV writers stuck in Hollywood creating a series for Matt LeBlanc, who plays a diva version of himself very convincingly. Not many shows set in the entertainment industry can sustain the conceit, but this is one that got even better in its third year.
Despite car and truck sales that motored past 16 million for the first time since 2007, recalls dominated the news for most of the year. General Motors GM 1.42% held center stage, dealing with cascading revelations about faulty ignition switches and recalling millions of vehicles. While GM opted for something approaching full disclosure of its missteps , publishing an report into company-wide fumbles, Japanese airbag maker Tanaka chose to stonewall. It left any remedies up to its beleaguered customers, notably Honda and Toyota. They are the ones who deal with the fallout of exploding safety devices that fatally fired shrapnel throughout the passenger compartment.
"Protections that promote equality and diversity should not be conditional on someone's sexual orientation," he wrote. "For too long, too many people have had to hide that part of their identity in the workplace."
Countrywide, month-on-month prices rose in 62 out of 70 major cities last month, were unchanged in one and fell in seven.
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:
The 12 US schools that appear in this ranking are the most gender balanced on average, with cohorts that are 48 per cent female.
《出生于缅甸皇室的她成为军阀和大毒枭》(The Female Warlord Who Had C.I.A. Connections and Opium Routes)
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.
Strachan says that he believes that the IP-BOX uses the same method employed by the FBI to unlock the iPhone 5c used by Syed Farook, without Apple's help. The FBI is now offering to help other law enforcement agencies seeking to unlock an iPhone, iPad or Apple iPod touch. Apple is trying to discover how the FBI unlocked the phone so that it can issue a software update to close the vulnerability.
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Gabriel: Well, there’s just one problem.
Emily: What’s that.
Gabriel: I like you.
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Since merged airlines often continue to report delay statistics separately, it may take a few years to see how the new American does during holiday travel.