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 共同写好大湾区世界级文章. 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.
'I thought I was going to sell the app in the Apple store for a pound or two each, and then I'd use the money to buy a new computer,' says D'Aloisio. 'I'd never had any contact from an investor before. And now here's an email supposedly from a Hong Kong billionaire. It sounded dodgy. I didn't respond the first time. They had to email me again.' D'Aloisio was accompanied by his mother and father ('they were a bit bewildered, it was kind of insane') as he took a meeting with Horizons Ventures's representatives in London in August 2011. The meeting ended with D'Aloisio receiving a seed investment of $300,000.
Grab your rolling bag, and pack your patience. The holiday air travel season is about to begin. And if you want to have a stress-free trip, the best advice we can give is to fly west.
n. 感动(激动，愤怒或震动), 搅拌，骚乱
The company is hardly alone in its efforts to woo talent of a different sort. Earlier this year Intel announced a collaboration with the Council of Fashion Designers of America, or CFDA, kicking off a partnership with the high-concept retailer Opening Ceremony to design its smart bracelet. Tory Burch partnered with Fitbit to design pendants and bracelets akin to the Shine Tracker by Misfit Wearables. And Apple AAPL -1.03% has tapped a diverse group of people, including former Burberry chief executive Angela Ahrendts (to lead its retail efforts), former Yves Saint Laurent CEO Paul Deneve, and former Nike NKE -0.71% design director Ben Shaffer.
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201011/117323.shtmlThe French actress will star alongside Ryan Gosling, Michael Fassbender and Natalie Portman.
Curry scored 27 points and the defending champions moved within one victory of matching the best start in NBA history, holding off the Chicago Bulls 106-94 on Friday night to improve to 14-0.
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.
2. The 'Dad bod' is so hot right now
2013 Rank: 14
I give all my love to you this New year.值此佳节，献上我对你所有的爱。
Most people’s impression of Sweden is that it’s cold, gloomy and beautiful. But that’s not the whole story. As the largest Scandinavian country with a small population, it’s a paradise for people who hate crowds and love their peace and quiet. It’s the perfect setting in which to enjoy the country’s local delicacies, such as fresh seafood, berries, and regional cheeses.
That was true, too, of “Mad Men” on AMC. which in its seventh season has all but exhausted its characters and its 1960s setting, but is still keeping viewers guessing about the end, which won’t air until next year. “The Sopranos” ended ambiguously. “Breaking Bad,” put an end to Walter White. Now, the next television mystery looming ahead centers on Don Draper’s last moments, dead or alive.
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:
“Even though I’m an engineer and an analytical person at heart, the most important decisions I’ve ever made had nothing to do with any of that,” he told an interviewer at Duke University, where he studied for an MBA, last year. “They were always based on intuition.”
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.
根据花旗居屋(Citi Habitats)提供的数据，在布鲁克林拟于明年投放市场的6527套新出租屋中，有1442套分布在贝德福德-斯图文森(Bedford-Stuyvesant)、布什维克(Bushwick)和克林顿山(Clinton Hill)。就在不久前，这些社区都还被视为不热门的地区。
15. An Amazing Coincidence One of the studios with the most on-screen diversity — it released “Trainwreck” and “Straight Outta Compton” (if also “Ted 2”) — and with the most female directors is Universal, which, as of early December, had gobbled up almost 24 percent of the year’s market share.
Gabriel: Well, there’s just one problem.
Emily: What’s that.
Gabriel: I like you.
“研究数据时，我不断回到这个问题上来，它其实是个身份政治问题，”挪威卑尔根大学(University of Bergen)研究欧洲极右翼党派的教授伊丽莎白?伊法斯夫拉腾(Elisabeth Ivarsflaten)说。“这是民粹主义者获得支持的最有力的征兆。”
Last year he told an interviewer that 'among others' he would be giving his riches to Choupette.
With the momentum now back behind the iPhone and anticipation growing for the Watch, Mr Cook seems to have won back the confidence of Apple employees, something that analysts say was obvious in his demeanour at this year’s product launches.
One highlight of last year's box office was seven high-quality domestic films listed on the top 10 earners, including 'Monster Hunt', a live-action hybrid, and 'Monkey King: Hero is Back', a 3D animation based on the classic ancient story.
[娱乐时尚] Chanel,Now and Then 香奈儿的现在与