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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 新零售时代的电商 地板行业作何思考?. 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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The latest survey also showed the country had a narrower gap between genders in 2015. As to the structure of genders, the male-to-female ratio last year was 105.02, lower than the 2010 ratio of 105.2.
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Helsinki-based developer Remedy Entertainment has blurred the line between Hollywood and games with previous incarnations Max Payne and Alan Wake. Now the studio is combining next-generation visuals with the tension and drama of scripted television. Set in the university town of Riverport, Quantum Break puts players in control of Jack Joyce and Beth Wilder, a pair of ordinary people who are given the extraordinary power to manipulate time after an accident that creates a time rift. Time will randomly break down during the game, which causes disasters in the environment that pause, stutter, rewind and freeze. Fans of Max Payne’s bullet time will see new strategies emerge with gunfights involving time-amplified combat as the player fights against the Monarch Corporation. In addition to the virtual storyline, the game features custom live action storytelling that’s personalized based on the decisions one makes.
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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

7、Bad body language habits
这是007系列电影最佳主题曲之一,但实际上并没有在片头演奏,所以我们把它放在荣誉推荐的第一位。这首浪漫的曲子呼应了电影情节的发展,最终詹姆斯·邦德遇到了真爱。(可惜他们的恋情维持不久便结束了。)路易斯·阿姆斯特朗运用了他标志性的颤音,听者心弦颤动,一个经典诞生了。
寻找工作的雇员并不希望将这些蛛丝马迹被他们的经理发现,凯说,但是他们确实被发现了。
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In being named CEO, Mary Barra broke through several historical barriers in moving from GM's third-most powerful executive position to its first. Her job was made both easier by the appointment of a non-executive chairman to handle the board of directors, and more difficult by the decision to give her old job to one of her rivals. As the first product engineer to head the company in two decades, she will be deluged with suggestions about everything from air conditioning vents in new pickups to the future of brands like Buick and Chevrolet.
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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:

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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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单词avoid 联想记忆:
007系列电影主题曲第七名:卡莉·西蒙--《没人做得更好》

位居榜单第三的是史蒂夫·卡瑞尔(Steve Carell)。《卑鄙的我2》(Despicable Me 2)在今年大获成功,斩获票房9.19亿美元。该电影系列累计已取得14亿美元的全球票房,该系列第三部《小黄人》(Minions)也即将上映。卡瑞尔今年还出演了小制作独立影片《迷途知返》(The Way Way Back)和《超级魔术师》(The Incredible Burt Wonderstone)。后一部影片的票房虽未能赚回制作成本,但是我们这里只关注票房收入——该部影片为卡瑞尔2013年的电影票房收入又添2,250万美元。
是否有什么事情我一直放不下?我们不会总是能意识到我们在何时抓住有害但感觉安全熟悉的事情不放手,不论是一份不称心的工作,还是一段不健康的关系或者一种停滞不前的生活方式。看看你是否执着于对你没用的事情,想出小措施来改变和解脱吧。

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Gabriel: Well, there’s just one problem.

Emily: What’s that.

Gabriel: I like you.

China's pension insurance balance of urban employees and urban and rural residents added up to four trillion, according to the Annual Report on Social Security Development 2015.
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但这种理念不会让英国退欧或者让特朗普当选总统。
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