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 放量！广州全市单周新增超3000套一手住宅. 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.
Starting a business can wreak havoc on the owner’s personal life. While all the above tips are necessary for success, taking care of yourself mentally and physically is also imperative. Exercise, sleep and diet play a central role in ensuring you implement these policies successfully. All of them drive attitude, motivation and relationships.
7. Am I working too hard? Taking time to re-charge and spend time on activities that make you happy is so important. Honor your desire to pull back from work or school pressure when needed and give yourself time to breathe, even if it’s only for a few minutes at a time.
Samsung’s comment was shorter: “Media reports of the acquisition are groundless.”
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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.
In the big closing session of the World Economic Forum in Davos, they recognised risks existed and badly run emerging markets might be vulnerable to shocks, but concluded that the outlook was brighter than it has been for many years.
China's box office sales hit a record high in 2015, by pulling in 44 billion yuan, or some 6.8 billion US dollars, with domestic films accounting for a large chunk of that growth.
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5. Constantly take action.
Star Wars: Rogue One is set to release on December 16, 2016.
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:
有些热门剧已经走得太远，应该降降温了，却仍在大张旗鼓，比如《唐顿庄园》(Downton Abbey)、《丑闻》(Scandal)和《复仇》(Revenge)。ABC频道的新剧《逍遥法外》(How to Get Away With Murder)是一部有趣的替代品，它是一部耸人听闻的夜间肥皂剧，讲述不法辩护律师的故事，简直可以称为“法律与无序”。
Argentina, the host nation's big rivals, are in with a great chance too. Any team featuring Lionel Messi is going to be in with a shout, but when you add to that the likes of Sergio Aguero, Gonzalo Higuain and Ezequiel Lavezzi, then it's a team with one of the best sets of attacking options in the tournament. Likewise, Uruguay's attacking trio of Luis Suarez, Edinson Cavani and Diegoi Forlan is about as potent as it can get, and is capable of scoring goals against any team in the world, although whethere the rest of their team is strong enough is open to debate.
We learned that you can never turn a wolf into a pet dog.
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.
Last but by no means least is our favourite fact that Norway once knighted a penguin. His name is Nils Olav, and he is a king penguin who now resides on Edinburgh Zoo, Scotland. He is the mascot and Colonel-in-Chief of the Norwegian Royal Guard. He was knighted on 15th August, 2008, which was approved by King Harald V, who stated during the ceremony that Nils was "in every way qualified to receive the honour and dignity of knighthood".
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Gabriel: Well, there’s just one problem.
Emily: What’s that.
Gabriel: I like you.
Best chances: Best film and best director. Surprisingly, Nolan has never received a directing nomination from the Academy.
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“Lotte will hurt the Chinese people and the consequences could be severe,” said the report, which followed a string of government probes into the company’s business interests in China.
Copestake said fears over economic austerity and the stability of the euro had pushed the index of euro zone cities down in the past year while the inclusion of Caracas was due to artificially high exchange rate controls.