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 晋江陶瓷取经台湾促进陶瓷产业转型升级. 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.
回购股票会帮助推高股价，很多分析师将标准普尔500（Standard & Poor's 500 index）创下多次历史新高归功于股票回购的盛行。
Remember Anthropoid. A rather overlooked drama from earlier this year, it starred Jamie Dornan and Cillian Murphy in the story of a failed assassination attempt on Hitler's third in command, SS General Reinhard Heydrich. Another crack at this story is being attempted with HHhH, this time round with Jacks Reynor and O'Connell as the plotting soldiers, plus Rosamund Pike and Mia Wasikowska as the objects of their affections, and Jason Clarke the target of their anger.
A video of Bi Fujian, a popular television host, poking fun at a song from a Cultural Revolution-era opera about the Chinese civil war, with his own critical asides about Mao and the Communist Party, appeared online in April. Despite the government's efforts to contain its spread, it circulated widely, with some commenters defending Mr. Bi's opinions and his right to express them.
The UK and France are the two powerhouses of business education in Europe. Nearly half of the schools listed are from either the UK (20) or France (19). French MiMs outperform UK programmes in terms of ranking, salary ($55,000 versus $49,000) and student numbers (9,000 versus 1,200). However, UK MBAs outdo French programmes in terms of numbers (18 schools in this ranking versus five) and student numbers (1,900 versus 1,300) though not in terms of salary ($115,000 versus $137,000).
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 report said families back home receive an average of $200 a month, which makes up 60 percent of the household income.Using the steady flow of remittances, families can buy food, get housing, go to school, access healthcare, improve sanitation, or even invest in a business and have some savings, the report said.
英国剑桥大学Judge商学院(Judge Business School)排名上升速度最快，今年上升19位，名列第29位，这得益于其在高管MBA排名中的出色表现（该学院今年首次参与此项排名）。华威商学院(Warwick Business School)重返榜单前20名（位列第19），该校去年未参加管理硕士排名。
Coke's Kent is not the only chief executive who spoke out in 2013 about the merits of immigration reform for big business.
Summly and Yahoo refused to comment on the deal’s terms.
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:
The inclusion of three turbodiesel engines this year could be considered controversial, especially as diesels remain far less popular in the U.S. than in Europe, where they tend to dominate the discussion. This is the first year in which more than two diesel-powered mills made the top 10 list and ironically two of them come from domestic automakers, including the only current full-size domestic half-ton pickup to offer one, the Ram 1500.
It was an incredible achievement for SpaceX. The first stage rocket of one of its Falcon 9 launchers, having successfully lofted cargo to the International Space Station, managed to turn itself around, bleed off the enormous kinetic energy it had acquired while its main engines were burning, fly back down to Earth and land vertically - with balletic precision - on a rather tiny looking robotic barge floating somewhere in the Atlantic.
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.
CEOs: Newbies Mary Barra at GM and Mark Fields at Ford start playing close attention to the moves made by FCA’s Sergio Marchionne. Despite running his growing empire on two continents, Marchionne tacked on a U.S market share gain of 1.2 points, unhindered by one of the weakest product lineups in the business and troubles with his much heralded eight-speed transmission.
5、Poor e-mail communication
People with Type A personalities are often high-achieving "workaholics". They push themselves with deadlines, and hate both delays and ambivalence. People with Type A personalities experience more job-related stress and less job satisfaction.
Gabriel: Well, there’s just one problem.
Emily: What’s that.
Gabriel: I like you.
A jailed con artist who falls in love with another inmate and escapes prison multiple times could only be the work of fiction, but this is more or less the real story of Steven Jay Russel. Much like his film counterpart, played by Jim Carrey, Russell was originally sent to prison for fraud. He escaped his first sentence to be with his partner Jim Kemple, who at the time was dying from AIDS. Russell was found two years later and returned to prison. Kemple died soon after.
The mattress comes with sensors inside the bed that can detect pressure and send messages to the app, which spares no details. The app not only detects movement on the bed, but also records the intensity and speed at which people are getting it on.
By 2020, annual box office sales are expected to reach 100 billion yuan, according to industry estimates.
里尔宁援引了荷兰经济政策分析局(CPB Netherlands Bureau for Economic Policy Analysis)的最新数据，数据显示，9月至10月经季节性调整的全球贸易量下降了1.1%，他表示，去年将被证明是世界贸易自2009年以来表现最糟糕的一年。
The education sector has remained largely unchanged by online service delivery — but could be transformed dramatically in 2018.
The excavators think the cemetery datesback around 1,700 years, to a time when Kucha was vital to controlling the Western Frontiers (Xiyu) of China. Since the SilkRoad trade routes passed through the Western Frontiers, control of this key region was important to China's rulers.