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.
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.
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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.
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。
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.
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.
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.
“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.
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:
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.
The Meyerowitz Stories
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.
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.
Have a love filled New Year!
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。