HTTP/1.1 200 OK Cache-Control: no-cache, private Content-Type: text/html; charset=UTF-8 Date: Wed, 02 Dec 2020 00:06:16 GMT is恐怖视频百度云
Advertisement

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 地板行业“国际化” 企业需练好四大“内功”. 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.

住房市场在去年年初表现抢眼,但到年末时则受到不断加重的担忧情绪困扰,这其中包括利率上升、供给制约、信贷收紧及一系列其他问题。
实际上,有能力和平回应是它们的长处之一。
Need to send gigantic files (up to 2gb) quickly? Try WeTransfer.com. You don’t even have to create an account. I use it almost every day.
TAXES: Approximately $18,036 a year
Sweden’s foreign minister, Margot Wallstrom, a proponent of a “feminist foreign policy,” opened up to Ellen Barry about her abuse at the hands of an old boyfriend when she was a young woman, something she had never said publicly before.
最近雇主已经加大招聘力度。劳工部数据显示,10月份新增就业岗位17.1万个,今年以来平均每个月增加15.7万个。这个速度高于去年,并且是2006年以来最强劲的就业增长。[qh]
戛纳电影节素以质问与嘲笑著名。在本届电影节上,《青木原树海》(Sea of Trees)成为第一部遭遇观众挑剔的电影。该片由格斯?范?桑特Gus Van Sant指导。在媒体放映场,《青木原树海》遭遇嘲弄的风暴,陷入了嘘声之海。由于这些发生在首映红毯前,恶评迅速传播,使得盛典蒙上阴影。娜奥米?沃茨(Naomi Watts )和 马修?麦康纳(Matthew McConaughey)走上红毯时,《每日电讯报》(Daily Telegraph)形容此场景为“极其糟糕却又引人瞩目的羞辱之途”。但是在随后的新闻发布会上,马修?麦康纳,这位来自德克萨斯的演员表情坦然,“每个人都有权倒喝彩,正如他们有权喝彩一样,”他说道。我相信我们都知道他的意思。
3=somewhat true
Stock pickers encountered difficulty this year in part because of concentration at the top of the market. Just five stocks—Apple, Berkshire Hathaway, Johnson & Johnson, Microsoft, and Intel— accounted for 20% of the market’s gains. If you weren’t at least equally weighted toward them, you had virtually no shot at making up for missing their enormous, index-driving gains. A majority of the market’s stocks did not perform nearly as well. According to the Leuthold Group, only 30% of S&P 1500 stocks posted gains exceeding the index itself. You’d have to go back to 1999 to see anything like this.
答:AZ里面的角色不是我创作的。在最初版本出来之前,我给故事写了大纲。但伊奈帆这个角色最后呈现出来的,其实和我写的不大一样。我和这个角色之间没什么联系,所以说这个人物算是例外吧。
单词comfort 联想记忆:
凸起那部分有个“涡卷饰品”——(古埃及碑上)在王和神的名字周围的椭圆形装饰。考古学家在上面发现有眼镜蛇一只眼的符号。

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

Over time, this ethnic blend has led to an uncommon harmony among the current squad, whose young players -- notably Eden Hazard and Romelu Lukaku of Chelsea, and Adnan Januzaj 贾努扎伊of Manchester United -- are the envy of many of their competitors.
But John Davies, head of institutional investment in the Hong Kong team at CBRE, the property services business, says that lower prices should make the market more reliable. “The market is showing characteristics of a mature market, which institutional investors understand better,” he says.
adj. 相同的,同一的
[bent]
同时,城市周围的乡村地区将会进行修缮,低端的制造厂和公司将会迁移。
“The Diary of a Teenage Girl” (Marielle Heller)
(传说中的中心对称!!!!)不过Illuminati的对称文已经遗失,下面的对称文是Dan Brown在写《天使与魔鬼》的时候找朋友设计的。 就《天使与魔鬼》一书描述,尽管很多人怀疑该组织的真实性,但光照派的确存在,至今如此,并且已经渗入了当今各个领域,尤其是很多共济会成员都在其中。

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:

万分沮丧之下,他发明了可以允许自拍的东西:他称之为"伸缩杆"。因为智能手机还没发明出来,所以,连接在自拍杆末端的是一个微型相机。在杆的前端有一面小镜子,方便使用者调整他们在相机里的姿态。他在1983年为"伸缩杆"申请了专利。虽然自拍杆进行了大量生产出售,却属商业败笔——相片的质量比较差。另外,以前的研究表明,那时的女士会因自己有自拍的想法而感到尴尬。在2000年,自拍杆被韦恩·弗洛姆(Wayne Fromm)重新发明,那时,上田宏的"伸缩杆"专利期尚有三年。弗洛姆称他的自拍杆为"快捷豆荚"。他认为他才是当今自拍杆的发明者,甚至起诉其他自拍杆生产者。当被问到上田宏的自拍杆时,弗洛姆评论说它们是"先前的艺术"。
新上榜品牌有26个,其中前三名为乐视、安邦和东方财富,其中民营品牌占70%。小米品牌价值涨幅最大,其价值是去年五倍,为73亿美元,TCL和华为位居其后。
A lack of capital and experience is the biggest obstacle for college entrepreneurs, the report suggested, stating that 40 percent of such young entrepreneurs rely on external capital such as loans from banks, investment organizations, schools and the government.

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

The Meyerowitz Stories
“我不知道发生了什么”洛瑞说。“我只知道我被吹罚了一次进攻犯规,就这么发生了。这就是NBA,这就是我想说的。”
1.摄影:增长了22.3%

今年的获奖榜单如下:
vt. 建议,推荐,劝告

黄奇帆盛赞白象街综改模式,白象街1号重新定义江景豪宅

厚积17年谋产业升级 世界家具名镇再出发

Gabriel: Well, there’s just one problem.

Emily: What’s that.

Gabriel: I like you.

When reflecting on the year in film, moviegoers often remember strong performances, or they might consider how a movie worked as a narrative, the emotions it evoked, what chances it took.
今年11月,我国网约车司机将须通过考试获得从业资格证。
5. 《卡罗尔》,导演:托德·海因斯。

I've seen managers not hire a woman because the environment is mostly male, and they're worried that no matter how smart or talented she is, she won't fit in.
据《外交政策》网站报道,在通往世界杯奖杯的漫漫征程中,比利时和乌拉圭是夺冠热门球队希望避开的两座冰山。在今年的世界杯赛场上,尽管比利时和乌拉圭都是不起眼的小角色,但它们有能力让比盲目自信的对手喝上一壶。虽然它们是历史上的小国,地缘政治上的出气筒,但很明显,他们在足球场上仍然极具竞争力。
国家统计局日前在其网站发布了上述数据,称这是科技研发经费增速连续4年下滑后的首次回升。
Have a love filled New Year!
说到底,我预期这些新的领导人将开始从更广泛的候选人中选拔人员,并把不同背景的人任命为自己的直接下属,从而驳斥那些根据当前的失衡来外推还需数十年才能实现领导层男女平衡的悲观者。
位于芬兰赫尔辛基的开发商Remedy Entertainment通过之前的作品《英雄本色》(Max Payne)和《心灵杀手》(Alan Wake)模糊了好莱坞和游戏之间的界限。如今,这家工作室将次世代的图像技术与紧张气氛和电视剧剧本结合了起来。故事设置在Riverport大学城,玩家将控制杰克o乔伊斯和贝斯o怀尔德。这两人原本是普通人,但在一次导致时间裂缝的意外中,他们获得了操纵时间的超能力。在游戏过程中,时间体系会随时崩溃,导致环境中的时间暂停、断续、倒流和冻结。玩家在游戏中会与帝王联盟(Monarch Corporation)展开对抗,喜欢《英雄本色》中子弹时刻的玩家,可以在放大时间因素的枪战中寻找新的战略。除了虚拟的故事情节,游戏还采用了定制的实景真人叙事模式,根据玩家的不同选择将产生不同的后果。

Most recent

Advertisement
Advertisement

We use cookies to understand how you use our site and to improve your experience. This includes personalizing content. By continuing to use our site, you accept our use of cookies, revised Privacy.