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 津城楼市迎来“小阳春” 二手房成交量增四成. 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.
At the same ceremony in New York, Dominic Barton, McKinsey’s global managing director, awarded the Bracken Bower Prize for young business writers to Christopher Clearfield and András Tilcsik. Their proposed book would look at how businesses can manage the risk of catastrophic failure. The 15,000 prize goes to the best proposal for a business book about the challenges and opportunities presented by growth by authors under 35.
For now, D'Aloisio isn't touching the money. 'I'm too young to appreciate the value of it,' he insists. 'I don't have a mortgage, I'm 17. To me, a hundred pounds is a lot. Take that as a benchmark.' Though he's not allowed to comment on Summly's sale price, when pressed he allows that he might one day like to deploy his newfound riches as an angel investor. No one around him seems to think there's a danger that the money will ruin him or that he'll be tempted to spend the rest of his life dissipating on a beach. 'He's pretty well grounded. You wouldn't believe how frugal he is,' says Diane. 'He's got a great engine,' says Lou. 'He won't stop at this.'
Sales of counterfeit products represent nearly 45% of those cases, 18.2% higher than last year. Bad feedback from consumers, frequent returns of goods, and complaints have been plenty. Some sellers use unreal low price as a business trap to promote their products.
It was the first "real" James Bond song (again, the first two films only opened with orchestral music), and it's still the best. Shirley Bassey got an opportunity to sing her soul out and she accepted the challenge with obvious pleasure. This is a song that makes the villain Auric Goldfinger seem a lot more threatening (and attractive) than he actually is, but that's part of the miracle of Bassey's work here. It's proud and heroic and enticing and it's kind of a lie, but who cares? The music is pure James Bond, the lyrics are pure machismo, and the performance is perfect.
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.
As it happened, the lenders to Seppenwolde never lost a guilder. Within weeks, they had liquidated all the East India shares and had recovered the money they had loaned.
直到最近，Weill Cornell Medical College的科学家们至少在老鼠和猴子身上实现了这一点。这种人造视网膜，它的芯片可以将画面转换为电子信号，而它的微型投影机可以将电子信号转化为投影光线。
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:
2. Mobile overtakes the web.
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.
Over 90 percent of them attended schools in English-speaking countries, such as the US, the UK and Australia, and over 70 percent pursue at least a bachelor's degree, according to the MOE.
HOUSE OF CARDS (Netflix, Feb. 27) Netflix’s political grand guignol gets a 13-episode third season. Kim Dickens of “Treme” joins Kevin Spacey and Robin Wright in the cast, and two members of Pussy Riot will make a guest appearance.
Gabriel: Well, there’s just one problem.
Emily: What’s that.
Gabriel: I like you.
2012中国创新人物奖中国互联网行业常常被描述成冒牌王国，尤其是对在中国被禁的那些公司的仿冒。中国搜索巨头百度(Baidu Inc.)的网站外观很像谷歌。腾讯的旗舰产品、即时信息服务QQ于1999年以OICQ的名字发布，与当时流行的即时信息服务ICQ功能相似。新浪(Sina Corp.)广受欢迎的微博总是被西方媒体说成“与推特(Twitter)类似”。
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.
Transport Ministry spokesman Xu Chengguang told a news conference that no further signs of life had been found and the chance of finding anyone else alive was "very slim."
引人注目的是，在首次上榜的9所学校中，亚利桑那州立大学(Arizona State University)的WP凯瑞商学院(WP Carey School of Business)成为首次参与此项排名的美国学校，排在第82位。