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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 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.

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.

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5.Taxi Driver
这是2015年1月11日发布在伊斯兰主义社交网站上的视频截图,显示了一个自称为AmedyCoulibaly的男人,声称就是他在2015年1月9日杀死了犹太超市的四个人质。
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.
然后,他用那把小提琴砸穿了那幅画。
1950年巴西首次承办世界杯,由于要在家照顾卧病在床的母亲,巴西球迷朱蒂尔·桑乔·贝尔蒙特错过了巴西与乌拉圭的决赛。六十四年过后,贝尔蒙特用原版未曾使用的决赛门票换取了三张本届世界杯决赛的入场券。
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“我们会根据天气谨慎考虑投送的时间和地点,但这些都不会公开,”脱北者Park Sang-Hak说道,他曾经领导过一系列的气球投送运动。
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.
去年上海浦东国际机场通报的准点率最低,该机场仅有52.4%的航班准时起飞,平均延误时长为48分钟。

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

最近几年,中国赴韩旅游出现了蓬勃发展,这让韩国的零售商高兴不已,不过也激怒了韩国国内的游客,因为他们发现韩国旅游景点被来访游客淹没。
‘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.
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"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."
全部或者大多数政府部门将会迁移,行政大楼计划将在2017年建成。
Countrywide, month-on-month prices rose in 62 out of 70 major cities last month, were unchanged in one and fell in seven.
Rank: 2

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:

The 12 US schools that appear in this ranking are the most gender balanced on average, with cohorts that are 48 per cent female.
pre前,de,cess走,or人:在前面走的人-前辈
《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.

Courtesy Netflix

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[iks'tend]
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Gabriel: Well, there’s just one problem.

Emily: What’s that.

Gabriel: I like you.

近年来,大多数发达国家的排放量一直在逐步下降,这部分是因为不景气的经济形势,同时也是因为日益加强的气候政策。2013年,由28个国家组成的欧洲联盟(European Union)的排放量下降了1.8%,虽然德国和波兰等几个国家的耗煤量出现增加。英国、意大利和西班牙的排放量显著下降。
['depjuti]
A party of 108 pandas – performers dressed in costumes – descended on London streets today to promote the plight of the cuddly black and white endangered species.

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proper拥有+ty→财产;所有物;特性
plane
'I was blown away by him,' Kushner recalls. 'The first time I interacted with him was at News Corp, when he was meeting with Murdoch, and I was looped in to provide perspective. Nick described the vision of what he was trying to accomplish. And he was providing insight to Rupert.' D'Aloisio's stage presence, coupled with the deep-pocketed credibility brought by Li, attracted a large group of benefactors to Summly, including Ashton Kutcher, Yoko Ono and Stephen Fry.
虽然这个心脏太虚弱,不能真的输送血液,但是这种细胞组织在修复受伤的心脏肌肉方面具有巨大潜力。
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.

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