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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 迈过“供给侧改革” 卫浴企业或将实现二次腾飞. 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.

许多分析师或许会对有关他们低估美联储的说法感到愕然。如今人们在谈论新兴市场资产时,最常提到的两个相关因素就是美联储和中国,以及它们将来造成负面冲击的风险。
This story pulls directly from the real Bling Ring gang , whose burglaries racked up $3 million over the span of ten months in 2008. All of the celebrities listed in the movie were real victims of this group, who claim to have been motivated by the "cultural obsession" surrounding celebrities' personal lives. Whatever their motives, the Bling Ring is a good reminder to take a step back from the media every once in a while.
2015年9月,当“防止虐待动物协会(RSPCA)”的检察员们打开这处位于南澳大利亚阿德莱德的房子时,他们发现了14只猫咪,其中13只已经死去,仅存的那只也瘦弱不堪。
吉尔伯特表示,对可穿戴设备的不断试验十分重要,但是现在短期内,人们还需要探讨一下:“技术的演进以及企业的研发力量共同推动了现有可穿戴产品的发展,但它们是否真的能够满足用户的需求;各公司又是否需要探索不同的合作模式,让可穿戴设备不仅限于早期使用者的圈子,而是被主流人群所接受”。
2.《洛奇》
据上周一发布的全球创新指数显示,中国成为首个跻身世界最具创新力经济体25强的中等收入国家。
北极和南极海冰量均降至历史最低水平
同样跻身2013年全球最贵城市前十名的还有新加坡、苏黎士、巴黎、委内瑞拉首都加拉加斯和日内瓦。
据市场研究公司IDC数据显示,个人电脑(PC)的需求正在下降,在2015年第四季度,全球PC出货量下跌了10.6%。
澳大利亚管理研究生院的一名毕业生表示:“最初,我对攻读在线课程颇有疑虑,但沟通和在线互动非常棒。”
Data released by the UK National Health Service last year on patient admissions revealed an alarming rise in various nutritional and communicable diseases in the past decade.
Her piece, titled “Back to Mother Nature," depicts an elaborate water-cleaning machine. Zhang worked with a team of artists at Google to animate her drawing.

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

Just because the job market is tough doesn't mean it's impossible. "You have to work harder at the job search," Challenger said.
"I'm excited about the opportunity to return to China, enjoy the country's culture, and bring the excitement of live NBA games directly to Chinese fans," he added.
figure
他在一则电话采访中向汤森路透基金会透露:“外出打工应该只是一个选择。但是对于2亿人来说,却是没得选择的选择。”
8月,为了捍卫中国在全球经济中的制造业中心的地位,央行引导人民币作出数十年来最大幅的贬值。稍后,在国际货币基金组织(International Monetary Fund)把人民币纳入全球储备货币之后,人民币进一步贬值。这一现象可能反映了资本外流。
Nicolas Cage certainly bucks a lot of trends. He once told media that, for residency reasons, the award he won for the 1996 film Leaving Las Vegas was “in a truck somewhere moving through Louisiana”. Apparently, one of the ways the authorities determine if you’re a resident or not – in what must be the most niche of tests – is to ask where your Academy Award is.
The quality of its students makes LBS particularly valued. “Studying among so many talented people has instilled in me the belief that I can actually achieve something on my own,” comments one MBA graduate from the class of 2011.

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:

舞厅上面有一个可以旋转,发出五颜六色的光的球-ballroom
The first is to view Asia as a market that has proved resistant to rapid development and will require significant structural and regulatory change before taking off. The second sees the possibility of sudden upside surprise.
They are typically designed for students with an average age of 22.

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

飞速变化的效应
You can read the full list of stories, but here are the top five:
It has now entered the top 20 for the first time.

科学家上周五发表报告显示,去年是自1880年记录开始以来,地球上最热的一年,对温室气体排放失控的危险发出了更强的警告,削弱了反对气候变化者认为的全球变暖已经停止的观点。
据第三方市场情报公司IDC日前公布的数据显示,去年中国智能手机制造商华为、OPPO以及vivo的年出货量大增,使得三家企业都成为了世界前5大智能手机制造商。

国家统计局:一线城市11月新建商品住宅销售价格环比微涨

北京月均房租升至近5000元 90后成租房主力

Gabriel: Well, there’s just one problem.

Emily: What’s that.

Gabriel: I like you.

但是,如果《广告狂人》向我们展示了什么的话(除了修身西服看起来多酷,宽领带真的不是男装的点睛之笔),那么,它最主要展示的是,60年代非常复杂,往往不太愉快,偶尔具有破坏性。
She made several points in a note to clients Tuesday that struck me as new:
Online peer-to-peer broker Ezubao previously cheated about 900,000 investors out of more than 50 billion RMB through a giant Ponzi scheme, the Xinhua News Agency reported in February.

elegant
中国工业和信息化部副部长毛伟明在一次新闻发布会上说:“在我国经济发展进入新常态的形势下,工业面临着下行压力加大、结构不尽合理、创新能力较弱。”
The winter holiday season will help thin the herd, but the true litmus test will be when a company can introduce a wearable that passes the “turnaround test,” Gilbert says—when a person walks a few steps from their front door and decides to turn around to retrieve a forgotten wearable device like they would a forgotten wallet, keys, or phone.
The only things in the way are his staff, Republicans in Congress and the limits of his power. And those are important. Campaign promises of 45 per cent tariffs on Chinese goods have turned into investigations into Beijing’s intellectual property regime.
[sp?n'teini?s]
啊,美国电话电报公司的命真好:同史蒂夫?乔布斯的关系最好,拥有iPhone的独家运营权(现在是如此),还是iPad的运营商之一。一切都对它有利,可为什么股票没有猛涨呢?截至4月1日,今年苹果公司的股价已经飙升109%,标准普尔指数也上升了41%。美国电话电报公司的股票呢?下跌了2%。问题在于发展,或者说缺乏发展:无线业务已经饱和,发展甚微,而占销售额25%的有线电话业务却出现萎缩。除非其高速互联网业务,或者iPad促使新的无线业务实现增长,否则其股票在华尔街将会继续遭受打击。

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