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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 苹果遇“麻烦”智能家居设备供应不足 门槛太高. 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.

2. The 2012 Ig Nobel Peace Prize
约40%的创业者的大部分收入都来自自己的公司,平均薪资约为19.4万美元,而非创业者的平均薪酬为17.1万美元。亚洲和大洋洲的创业者看起来是最成功的。他们中近一半人(48%)的大部分收入都来自自己的公司,而且薪资最高(平均为25.1万美元),稍高于中东的创业者(24.4万美元)。
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乔治王子获得满分,因为他对加拿大总理特鲁多傲慢的击掌回了一记冷眼。
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该学校校友的总体满意度为95%,比伦敦商学院(London Business School)和德国WHU奥拓贝森管理研究院(WHU Beisheim)高出两个百分点。
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Global gold production rose to 3,268.7 tonnes in 2017 from 3,263 tonnes a year earlier, according to the WGC. That was the smallest increase since 2008, when gold mined fell more than 2 per cent during the financial crisis.

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

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最佳新人:Florida Georgia Line
"某时,世界呈现给我们是相互分隔的,但是这些电影和电视作品让我们感觉世界是相通的,"美国电影学院的总裁兼首席执行官Bob Gazzale如是说。"美国电影学院奖表彰这些电影艺术家们,勇于挑战,让我们受到鼓舞,娱乐,又励志,最后让我们意识到,我们都有着同样的心跳,"
或许不会是一个超新星,但是会有好球员快速地把他们拉回正轨,比我们之前讨论的其他队伍都要快。打完这个赛季,还完之前的债,然后就可以潇洒甩头,大步向前了。
The state-sponsored purchasing managers' index fell from 50.8 in October to 50.3 in November, the lowest reading since March. Any level above 50 indicates expansion.
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Tracey and Viv Williams, a British couple, dressed as the green cartoon ogres from Shrek at their wedding held recently. Tracy, 33, made a lovely Princess Fion

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:

然后,新班子的第一个举动——用路易斯-威廉姆斯从火箭那里换来一个一轮签——是一个明确的信号,他们意识到必须不惜一切代价保证六月抽签时自己的选秀权能在前三。
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在推特今年转推量最高的10大推文榜中,有3条美国前总统贝拉克·奥巴马的推文,而该国现任总统唐纳德·特朗普的推文却无一上榜。

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

Certainly, the emails have already started flooding in celebrating various products in shades of Rose Quartz and Serenity. But I wonder: Are we suddenly going to see a host of blended pastel ties, as opposed to the currently popular red and blue, popping up in the next round of presidential debates? Place your bets now.
提问
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Gabriel: Well, there’s just one problem.

Emily: What’s that.

Gabriel: I like you.

欧文的原型叫梅尔·温伯格,事实上,他和情妇被联邦调查局征募,让8名特定官员因受贿被免了职。和电影里一样,温伯格和联邦调查局精心设计骗局,抓了这些腐败政治家现行。温伯格后来真的和一名官员成了朋友,但与电影不同,他的最终豁免协议没有让他想帮助的朋友免受牵连。有些事情,即使是对职业罪犯来说也太过牵强。
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Finally, only two schools join the open ranking for the first time this year. Antai College of Economics and Management at Shanghai Jiao Tong University comes straight in at 32 and Eller College of Management at the University of Arizona is ranked 68th out of 75.

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2.你突然变成Twitter上面思想领军人物。
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Some of these people have instead reached for issues that feel close to their concerns: trade, crime, the war on drugs, controlling the borders, fear of Islamist terrorism. All are significant in their own right, and create very real fears for many people, but they have also become a means to have a public conversation about what society’s changes mean for white majorities.
公司:技术服务公司Binary Group
I don't know about you, but if I had a separate calendar for work, school and life, I'd be a complete mess. When everything in your life is on one calendar, in one planner, you can't double-book anything. You know, like an important test and a dinner with your boss.

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