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 2015年家居市场前三季度市场比较. 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.
Who greets a member of any royal family, however young, with a high five?
In Canada, we live the privileged life, with plenty of food, water and shelter—we have watches, bicycles, computers and television sets. 在加拿大，他们过着特权般的生活，他们有很多食物、房子和水。他们拥有很多手表，汽车，各种电器和奢侈品。
Best Companies rank: 11
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Five schools from five different countries are ranked for the first time. Singapore’s Lee Kong Chian School of Business is the highest new entrant coming straight into 36th place. Canada’s Queen’s Smith School of Business registered the best progression, climbing 32 places to 67th.
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Initial success was achieved in supply-side structural reform.
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.
Major American retailers including Wal-Mart, Target (TGT, Fortune 500), and Kmart all opened their stores on Thanksgiving to get a jump on the holiday gift shopping season. Wal-Mart even went as far as to open its stores two hours earlier this year than it did last. But Costco (COST, Fortune 500) refused to join the trend of "Black Friday creep" and kept its doors shut. Chief executive Craig Jelinek thought giving his workers a day off was more important than increasing his company's bottom line.
除了P2P贷款领域发展迅速以外，今年还涌现出一些网络银行和贷款机构——比如腾讯(Tencent)的微众银行(WeBank)、阿里巴巴(Alibaba)的网商银行(Mybank)，以及蚂蚁金融(Ant Financial)的芝麻贷(Sesame Credit)。
French business schools top the 2017 ranking. Edhec Business School, based in Lille and Nice, leads the field for the first time. HEC Paris, which dominated this ranking since its first edition in 2011, drops to second place.
The S&P 500’s total return of 14% this year was 40% higher than its 25-year average annual gain. Wall Street’s chief strategists spent much of the last 12 months revising their targets higher from behind. The index printed over 50 all-time record closes, with nearly all investment management professionals racing to at least pull even. A few characteristics made the U.S. stock market particularly difficult to keep up with this year.
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:
Once Upon A Time
"Nobody can stop it. I will keep sending leaflets into North Korea at the risk of my life," Park said, adding he has always prepared to face down the North's threats.
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 month scientists at Illinois University made a breakthrough that could herald a second green revolution for world agriculture – they improved the efficiency of photosynthesis, the process by which plants turn sunlight into the biomass that is the source of all our food.
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Gabriel: Well, there’s just one problem.
Emily: What’s that.
Gabriel: I like you.
傲人的财务业绩和令人炫目的新科技，或许已足以让这位钢铁般坚定的苹果首席执行官赢得英国《金融时报》2014年年度人物(Person of the Year)的称号。但库克阐述自己价值观的勇气，同样让他与众不同。
Rounding out the top three is Chrissy Teigen, 31, who joins the list for the first time after raking in $13.5 million over the past 12 month-period.
Sliced into eight pieces, the pizza works out to $250 per slice, meaning it costs roughly $50 per bite.