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 钢企谈去杠杆：就怕有人扯后腿 银行不能一刀切抽贷. 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.
Goldie Blox是一家玩具公司，使命是重新定义玩具商店中的“粉红走道”。在科学、技术、工程和数学（STEM）教育和职业领域，男性数量要大大多于女性，大部分女孩往往在八岁前就对这些领域失去了兴趣。Goldie Blox所设计的玩具则通过吸引女孩发展强大的口头及故事讲述能力的方式——同时仍提供机会来发展日后可转化成对工程学兴趣的技能——来鼓励和启发未来的工程师们。说到机会，一家玩具初创企业如何能在和一开始就统治着玩具行业的大公司的抗衡中脱颖而出呢？Goldie Blox走出了明智的一步：最近，该公司发布了一段视频，采用了Beastie Boys的歌曲《女孩们》（Girls）做背景音乐，该视频得到了病毒式传播。尽管这段视频最终被撤下，但Goldie Blox在提高公众对让更多女性和女孩对STEM产生兴趣——以及对Goldie Blox玩具——的认知上，做了一份相当不错的工作。
Those trade flows, published by the General Administration of Customs, resulted in China’s trade surplus rising than $2bn to $40.2bn, surpassing October’s revised figure of $38.2bn and well ahead of September’s revised six-month low of $28.6b. November’s trade surplus was also ahead of the $35bn forecast by economists.
Data also showed that the average salary for the top 100 colleges on the rankings increased by 1,818 yuan over last year, up 22.8 percent.
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Inarritu said: "I forgot to thank all the native Americans who made this film possible. I cannot say how surprised I am and how proud I am to have survived this film with all these fellows."
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Add your scores for questions one to nine to see how you score on the Negative Affectivity scale
The best bosses understand that there must be a balance between the company or client’s needs and the needs of his or her employees. The best bosses are willing to listen and talk about any issues an employee may be having because they understand that a happy employee is a more productive employee。
Now, Curry and the Golden State Warriors are right road of adding another accomplishment.
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.
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Magic show (Lu Chen)
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:
Everyone has both, but people tend to be most attached to their “best” identity — the one that offers the most social status or privileges. Successful professionals, for example, often define their identities primarily through their careers.
Sweden’s foreign minister, Margot Wallstrom, a proponent of a “feminist foreign policy,” opened up to Ellen Barry about her abuse at the hands of an old boyfriend when she was a young woman, something she had never said publicly before.
Consumer Electronics Show
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.
We will boost the development of modern agriculture.
Gabriel: Well, there’s just one problem.
Emily: What’s that.
Gabriel: I like you.
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