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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 南京二手房进入买方市场. 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.

新兴市场吸收的外国投资已降至金融危机以来最低水平,投资者准备迎接美国近10年来首次加息的冲击波。
尽管必须找到方法整合公民的观点,但始终会有缺陷。
《无为大师》
Some of them still give high return to their shareholders. China Merchants Bank is generous; its dividend reached 30.16% of its net profits.
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.
比利时和乌拉圭这两个袖珍之国因为包容性最大限度地增强了自己的实力,巴西、阿根廷、西班牙和德国这四个本届杯赛的夺冠大热门肯定会对他们特别小心。他们将会是有力的提醒,告诉世界小国家通常也能一击致命,就像巴西本土的小动物蚊子和蝎子一样。
“It’s na瘀攀 not to recognize we’re at a pretty serious moment,” said Anthony Crichton-Stuart, director of the London dealer Agnew’s. “There has been a massive taste shift. But when a good old master does come up at auction and it is priced correctly, you do get some excitement.”
改革就是要解放和发展生产力,调动广大人民的积极性,让群众得到实惠,为政之要就是要舍小利、顾大义、顺民心。
But if the U.S. can avert that Washington-made crisis, the outlook for workers finding jobs is actually looking pretty good for next year. For one thing, the damage of superstorm Sandy will have to be repaired, meaning jobs in construction and retail. Businesses, meanwhile, which have held off investing and hiring because of uncertainty over the fiscal outlook, might finally open their wallets. That means more jobs, too.[qh]
The actor - who is heavily tipped for his first Oscar this year - won the gong for best actor in a film drama for his role in The Revenant, beating rivals including Eddie Redmayne who was nominated for The Danish Girl.
根据近日发布的《第13次国际年度住房负担能力调查:2017》显示,这三座城市高居世界最不可购性房屋市场的前三甲。
On Aug 21, the country came to a pause as millions of Americans — even the president — put on eclipse glasses and stopped to take in the first eclipse to cross the United States since 1918. Its path across the United States was a scientific bonanza for astronomers who were able to more easily point advanced equipment at the sun.

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

[s?'plai]
温莎王朝的非官方座右铭“永不抱怨,永不解释”到底可信不可信?
[ri'f?:m]
[.beni'fil]
Job-searching employees often send these subtle signals without expecting their managers to notice, Kay says. But they do。
这个习惯会严重影响你的工作。如果你认为在最后时刻可以发挥最好,不断地推迟任务直至最后一天(一个小时),你可能没有认识到你的这种习惯给同事们带来的影响。如果最后一刻再来赶工,要求别人迅速完成任务,很可能会惹恼你的同事,在任务失败或者未按时完成时候,你就是第一个被责备的人。
Remember Anthropoid. A rather overlooked drama from earlier this year, it starred Jamie Dornan and Cillian Murphy in the story of a failed assassination attempt on Hitler's third in command, SS General Reinhard Heydrich. Another crack at this story is being attempted with HHhH, this time round with Jacks Reynor and O'Connell as the plotting soldiers, plus Rosamund Pike and Mia Wasikowska as the objects of their affections, and Jason Clarke the target of their anger.

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:

审校:赵倩 来源:前十网
Golden State equaled the 1957-58 Celtics as the only defending champions to win their initial 14 games. The Warriors are one of five teams in NBA history to begin 14-0, and will travel to Denver looking to keep it going Sunday.
去年,外国机器人市场向我国售出103191台机器人,同比增长71.9%。

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

4)我来搞定它:你专心致志地听别人说话。然后你说,“轻松一点,别担心。我会亲自搞定它的。”这样的承诺会让所有人都放松下来。如果想要做出更大的承诺,你就可以说,“我向你保证。”这样的表态会让你看起来更可靠。在对方眼里,你已经进入角色,并且会尽一切努力去完成的。
Skeptics of climate change have long argued that global warming stopped around 1998, when an unusually powerful El Ni?o produced the hottest year of the 20th century. Some politicians in Washington have seized on that claim to justify inaction on emissions.
There are, for example, clear differences in the way the products are pitched to investors in the US and Asia. A high proportion — some estimate 90 per cent — of funds in Asia are commission-based. This disadvantages ETFs because they are openly traded on stock exchanges and are not structured to pay commissions to banks, brokerages or financial advisers that might recommend them, unlike the mutual fund industry in the region.

Harry Potter fans, it's time for another movie. A prequel to the Harry Potter films, Fantastic Beasts and Where to Find Them follows the adventures of Newt Scamander in an ancient New York. It is based on the Hogwarts textbook in Harry Potter by the same name.
单词prime 联想记忆:

家居产品不促销就卖不出去 明码标价为何执行难

广州发布房地产中介行业信用白皮书 房产中介人员一地失信五地曝光

Gabriel: Well, there’s just one problem.

Emily: What’s that.

Gabriel: I like you.

The American Film Institute has picked its 10 best movies and TV shows of the year. The titles, presented in alphabetical order, are works AFI's juries have determined advance the art of the moving image, enhance the cultural heritage of America's art form, inspire audiences and artists and make a mark on American society.
"Last year, 1.2 million Chinese visited Australia. We anticipate this will grow during the China-Australia Year of Tourism and will continue to grow afterward."
根据两位了解相关计划的人士的说法,中国政府正在禁止中国旅游团体赴韩国旅游,这是对韩国拟部署美制萨德(Thaad)反导系统的最新报复手段。

《不可思议的杰西卡?詹姆斯》
安德鲁希尔(Andrew Hill)是管理主编
[.n?vi'gein]
Mavericks owner Mark Cuban has made riskier bets than this, though, and he didn't part with much of consequence (Justin Anderson and a fake first-round pick) for a shot at working Noel into a lob-finishing/rim-protecting life as the next Tyson Chandler.
伦敦博蒙特·内森顾问公司(Beaumont Nathan)的联合创始人雨果·内森(Hugo Nathan)说:“新投资者对早期绘画大师的作品有兴趣,不过他们想要的是杜维恩(Duveen)卖给强盗大亨们的作品。他们想要名作。”他指的是英国艺术交易商约瑟夫·杜维恩(Joseph Duveen),他把很多伟大的艺术品带去了美国。
这两笔交易中最大的风险在于伊巴卡和塔克这个夏天即将成为自由球员,但是失去一到两名球员的痛苦和早早的在五月就被淘汰出季后赛相比就不算什么了。

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