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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 重庆一小区冒出300多家“网红”民宿 居民不堪其扰. 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.

3.5 促进农业稳定发展和农民持续增收
剧中,罗根的爪子不再迅疾,自愈能力渐失,但他坚持照顾人生导师X教授(X教授的演技让你忍不住为他鼓掌!),看着影片里X教授忍受癫痫的痛苦实在是令人不忍。毫无疑问,该片赚足了粉丝的泪水。如果杰克曼和斯图尔特是认真的,这部片子是他们为对方献上的终篇,这番告别可谓是一曲千古绝唱。
In its decision to not boost its monetary stimulus efforts, the Bank of Japan noted industrial production was one area where the economy was just puttering along. Certainly, there were other parts of the economy, such as the labour market, that were doing much better.
“当她穿着华丽的衣服站在舞台上,她神采奕奕的表情对我来说是无价之宝。”
Wang Jie, the general manager of a Beijing-based investment company, said the higher pay for executives in the financial and real estate industries shows the imbalance of development in China.
刘非也是汉朝皇帝汉武帝(公元前141-97在位)的同父异母兄弟。
1999年中国航空工业第一、第二集团公司(之后两者合并为中国航空工业集团公司)的成立标志着中国开始进军商业航天领域,显示了中国迈向这一行业的绝心与意志。但实现这一雄心的脚步并不那么平坦。20年之后毫无疑问中国已经成为了大型商用航天领域的成熟玩家,将其他几国远远甩在身后,并有望打破空客和波音的长期垄断。
contribution
Common 和 Day 将会演绎电影《马歇尔》中的歌曲《Stand Up For Something》还有Settle会演唱电影《马戏之王》中的歌曲《Thisis me》。
3.《初恋50次》
[kri'eitiv]
豆瓣网友“Weishenmeyaoxuefa”称:“这部剧中的武术场景很抢眼,演员们表演的是真功夫。”

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

But Schultz didn't stop there. The chief executive also offered free coffee for a few days during the shutdown to customers who bought someone else their drink. Schultz hoped the campaign would help people "connect with one another, even as we wait for our elected officials to do the same for our country."
图表二显示的是实际联邦基金利率(计入通胀因素后)和实际自然利率。可以再次看到,当联邦基金利率高于自然利率时,新兴市场危机更为常见。
单词impresario 联想记忆:
It is the first biography to win the prize, although Mr Greenspan’s autobiography, The Age of Turbulence, was shortlisted in 2007, the year before the financial crisis raised serious questions about the central banker’s legacy.
Barack Obama went on the offensive over foreign policy in the third and final presidential debate, repeatedly accusing Mitt Romney of flip-flopping on major international issues but failing to deliver a killer blow to his opponent's resurgent campaign.
Subdivided flats smaller than 100 square feet (9 square meters) can rent for $385 in the Asian city.
● “一艾滋病女子故意传播艾滋病给586名男子,计划在2017年之前传染2000人以上”

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:

2016全球大学国际化水平排名是由《泰晤士报》高等教育从28个国家的200所大学选出的。它采用了几项指标来衡量,比如国际员工的比例,国际学生的数量,每个学院至少有一个不同国家的作者合著的研究论文出版等。
Capsized ship righted
想要改善自己的生活,而不只是学业,最好的方法之一就是冥想。每天花上十五分钟,静下心来,集中注意力并充满自信。

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

3.5 促进农业稳定发展和农民持续增收
第48届美国乡村音乐学院奖获奖名单:
感谢和凯尔特人的选秀权交换,他们没有理由摆烂。他们或许会从参选球员中选到一个最佳安慰奖以推动球队前行。

至于德克,我认为没有人应该曲意逢迎,但是总有人会这么做。从某种程度来说,如果球队处境如此令人痛心,或许摆烂会来得更轻松一些。
One of the biggest trends I’m noticing in entrepreneurship right now focuses on access. Innovators are taking what was once costly, time-intensive, or otherwise beyond reach and efficiently offering it to consumers. Whether it’s learning new skills, inspiring a new interest, or tapping into formerly cost-prohibitive markets, entrepreneurs are finding new ways to bring the unique and specialized to a more mainstream market. We started to see this with collaborative consumption business models and I predict we’ll continue to see an influx of ‘access-based’ business models in the year ahead.

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Gabriel: Well, there’s just one problem.

Emily: What’s that.

Gabriel: I like you.

Developer: Remedy Entertainment, Microsoft Studios
“我跟她很像,我们真的就像一对老夫妇。”
Most successful entrepreneurs follow comparable patterns and share similar basic characteristics. Hundreds of online articles and published books claim to know the secret of success in business, but for the most part, they boil down to the same major points.

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Maddie has now appeared in three of Sia's videos - Chandelier, Elastic Heart and Big Girls Cry.
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