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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 业主电梯“惊魂” 诉物业获赔6000多元. 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.

The film pulls heavily from the life of Arthur Bremer, who shot presidential candidate and segregationist George Wallace in 1972. Similarly to his film counterpart, Bremer shot Wallace shortly after being rebuffed by a young girl. Overall, though, his life was much less exciting than that of De Niro's character, with the biggest commonality between the two being that neither actually succeeds in killing a politician.
2. “闪光的密切:纳撒尼尔·多斯基与杰罗姆·希勒的电影”(Luminous Intimacy: The Cinema of Nathaniel Dorsky and Jerome Hiler)。赞美纽约电影节,感谢纽约电影节,举办了这样一次令人赞叹的双人回顾影展。
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下面是今年最令人难忘的四个设计,包括参与塑造这些造型的一些艺术家们的评论。
As US ETF assets under management passed the $3tn mark this summer, AUM in the Asia-Pacific industry just managed to creep over $350bn.
讽刺的是,就在该榜单公布的同一天,特朗普会见了已经连续第四年蝉联富豪榜榜首的比尔·盖茨。
当小李子上台领取奖杯时,制片人哈维韦恩斯坦兴奋地拍拍他的背,全场观众起立为他喝彩。
The potential for conflict will force China and the US to redefine their roles in a shifting environment that neither is comfortable with. Tensions will be aggravated by anti-China sentiment during the American elections. Asian countries are in a position to delineate the boundaries of influence for these two powers but, given their varied interests, alliances will shift depending on individual concerns.
你是否经常闷闷不乐、心情不好?
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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.

Courtesy Netflix

开发商:Frontier、Microsoft Studios
'The book is true to the character and keeps him as fans would want him, which is as the original hard-bitten guy,' he said.
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If a sitcom that lasts for 10 years is considered popular, then surely one that still stirs up emotions after 20 must be considered a classic. Friends first aired in the US in 1994, featuring a cast of six young men and women in New York. In the time since, it’s become one of the most famous titles in the sitcom genre, aired in over 100 countries and regions in the world.
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在大型科技公司内部,女性雇员将希望看到加薪和升职方面发生变化的迹象——但是,随着男性权利在硅谷某些角落开始酝酿反击,她们也会保持警惕。
而分子马达将会为医药和能源领域带来巨大的潜力。

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:

After years of filming its iconic fashion show in New York City, Victoria's Secret has travelled to London, Paris, Cannes and Los Angeles, and for 2017 the global lingerie giant is heading to Shanghai.
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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

Few years in recent decades dawned with as much of a sense of pessimism as 2014. One consistent theme in the predictions for the year was that 2014 looked eerily similar to 1914. Most pundits predicted doom and gloom, especially in east Asia. Yet, while there were many horrific events — from thedowning of flight MH17 over Ukraine, to the abduction of hundreds of schoolgirls in Nigeria and the rise of the Islamic State of Iraq and the Levant — we have avoided outright world war. Now that the year is closed, with no repetition of 1914, it may be wise to investigate why the pundits were wrong, particularly on their ideas around the potential for conflict in Asia.
Wishing you a sparkling New Year and bright happy New Year! May the season bring much pleasure to you.
Promoting social development to ensure and improve the wellbeing of our people

The central government has allocated a special fund of 100 billion yuan to provide assistance to workers laid off from overcapacity cuts, and also has asked local governments to set up matching funds.
But he told Washington's Observer-Reporter paper that he was keen to read it as it was "a testament of the sincerity, interest and innocence of that time".

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Gabriel: Well, there’s just one problem.

Emily: What’s that.

Gabriel: I like you.

Apple Inc., Alphabet Inc.'s Google, and Coca-Cola Co. topped the list of the world's 100 most valuable brands in 2016, while technology and automotive brands dominated the overall rankings, according to a new report from brand consultancy Interbrand.
A pair of post-mumblecore comedies about self-realization and its limits. Mr. Bujalski’s is a flawless screwball triangle (with Guy Pearce, Cobie Smulders and Kevin Corrigan as the sides) masquerading as an easygoing hangout with the oddballs of Austin, Tex. Ms. Piven surveys the darker territory of mental illness and daytime television. Thanks to Kristen Wiig’s astounding performance (as a lottery winner named Alice Klieg), “Welcome to Me” is a portrait of an American dreamer that is unsettling and inspiring in equal measure.
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The Swiss school came top of the list of 90 best masters programmes worldwide in 2016, winning its sixth consecutive crown.
The slower acceleration also tracks with trends in real estate investment, which felt a (slight) bite from property purchasing curbs in top-tier cities last month as nation-wide sales also decelerated in both volume and value terms.
政府确实管了一些不该管、也不应属于自己管的事情,它束缚了市场主体的手脚,降低了行政效率,甚至影响了政府的公信力。
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这将需要多长时间?比特币要成为被广泛采用的货币以及新应用的协议,将在多大程度上面临主流消费者缺乏了解的障碍?亚当o卢德温表示,人们在欣赏比特币时无需理解该技术的工作原理。卢德温说:“它有些类似早期的互联网。人们实际上完全不懂其工作原理,但他们也不需要懂,他们对此也不关心。他们只知道自己打开电脑就能查看电子邮件。”

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