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 如何让农民富起来？发改委：统筹提高农民四方面收入. 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.
《江城警事》(Battle Creek)，CBS，3月1日播出。重磅剧就是会带来这样的改变。文斯·吉利根在十几年前就为这部亦敌亦友的警探搭档剧写好了试播集剧本，当时他还不是《绝命毒师》与《风骚律师》的主创。如今它终于被CBS拍成13集连续剧了。《法律与秩序：特殊受害者》(Law & Order: SVU)和《我为喜剧狂》(30 Rock)的主演在剧中饰演一个当地警探，《拉斯维加斯》(Las Vegas)主演乔希·杜哈明(Josh Duhamel)饰演一个老练的联邦调查局探员，两人在密西根州巴托溪的塞里尔城共事，相处得很不自在。
Death may be behind the ritual of the critic’s top 10 lists, including that of physical media: Lists are easy to read on cellphones even if the deluge of entertainment media increasingly makes comprehensive viewing near-impossible. More than 900 movies will have opened in New York by the end of this year, many slipping in and out of theaters quickly and racing toward on-demand oblivion. Even so, I watched several hundred features over the year and liked quite a few; the major studios and the independent sector released the expected junk but, as usual, movies of merit. What follows are my favorite moving pictures of 2015 and another 10 miscellaneous notes on the year.
'It surprised me, but it's a good sign for Tencent getting abroad, because in particular WeChat is a combination of WhatsApp and Instagram, so it's a unique value proposition that is probably pretty good for emerging market consumers,' he said.
One of the main shackles on the economy over the past four years has been stagnant wages. Hourly earnings have risen an average of 2% annually — just two-thirds of the long-term U.S. average.
The study relied on a dataset of hundreds of millions of secret answers and millions of account recovery requests.
“As the economy enters the ‘new normal’, the industry sector faces increased downward pressures, unreasonable structures and weak innovation capability,” Mao Weiming, vice-minister at the Ministry of Industry and Information Technology, said at a press conference.
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.
the truly embarrassing press conference from Vlade Divac, the leaks of Vivek Ranadive's lust for Buddy Hield, and the failure to sell off a host of spare veteran roster parts that theoretically could have been turned into picks.
葡萄牙诺瓦商业与经济学院(Nova School of Business and Economics)巩固了去年的强劲表现，排名进一步攀升14个位置，排在了第17位。
4. “Carol” This is the first movie that Todd Haynes directed that doesn’t have his name on it as a writer. Working from Phyllis Nagy’s distillation of the Patricia Highsmith novel, he reaffirmed that filmmakers don’t need to generate their own screenplays to be great, a truth many aspiring and established auteurs disregard.
In this ranking of 90 European business schools, Insead in France leads the field for full-time and EMBA programmes, while the University of St Gallen in Switzerland is top for MiM. Iese of Spain and IMD of Switzerland were ranked number one for customised and open-enrolment executive education programmes respectively.
节目6 小品《想跳就跳》，潘长江 蔡明 郭丰周
Ariel Foxman In Style
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:
Coca-Cola (KO, Fortune 500) Chief Executive Muhtar Kent thinks as both a first-generation American as well as a business leader that immigration reform is good for business. Kent outlined in a February USA Today op-ed how "lucky" he felt to be able to make his life in the U.S. and his belief that foreign entrepreneurs should have the same opportunity. The CEO wrote that he supports immigration reform because immigration is "an essential part of the growth calculus for this great country."
'People go crazy and it gets overwhelming.'
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.
In the 1990s, Roth applied it to the market for allocating US student doctors to hospitals. He developed a new algorithm that was adopted by the National Resident Matching Program, which helps match resident doctors with the right hospitals.
联系方式：Kathy Michalove, Seaboard Properties, (860) 535-8364; seaboardpropertiesre.com
A robust LinkedIn presence is crucial to any job search. You know that. Your manager knows that. And your manager probably knows that you know that – so she'll be concerned when you go from having a bare-bones profile on Monday to one jacked with additional work history, new connections, status updates and recommendations by Friday. "Don't go from zero to 500 overnight, because that can be quite obvious," Foss cautions。
On Sunday, the night before the Doodle debuted, Zhang told Newsday she was "excited" by the big win, but said she wouldn't be awake when her art first went online at midnight.
Over the past three years, drawing conclusions about China's box office growth has been complicated by Beijing's decision to include new service fees in official revenue totals.
Gabriel: Well, there’s just one problem.
Emily: What’s that.
Gabriel: I like you.
With respect to trade frictions between the two sides, I think we have gained good experience in addressing them.
Exports had risen in renminbi terms last month as well, up 5.9 per cent. But when valued in dollars they grew only 0.1 per cent year on year to $196.8bn. Still, that was well above expectations of a 5 per cent fall after contraction had softened somewhat in October to 7.3 per cent.
The annual national civil service exam kicked off last Sunday, and some recent hot topics - such as college graduates starting their own businesses and the Yutu (Jade Rabbit) lunar rover - appeared in the exam questions.
Perhaps it will not catch on in the cut-throat world of Wall Street. Some may see an extended absence as an admission that their jobs are expendable, and that colleagues can survive — and perhaps thrive — without them.
But closing the deal on RCEP less than a year after Donald Trump pulled the US out of the TPP would be a big win for Beijing.
China’s outbound non-financial investment fell 40.9 per cent during the ten months through October, according to official figures, reflecting the enduring impact of strict capital controls.