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 古镇“十三五”规划曝光：LED照明灯饰产业向智能化、高端化路线发展. 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.
持有40亿美元亚洲相关资产的美国投资机构Cohen & Steers的基金经理梁纬濂(William Leung)认同这一点。他主张，随着价格下跌，投机性投资将被驱逐出市场。他补充称，行业中另类投资热度上升的趋势应当意味着，即便基础资产的价值上涨得更慢，房地产投资信托的价格也会上升。“我们认为，这次调整的幅度将不会太大，”他说。
The U.S. Congress and the media will go berserk when Goldman announces the size of its 2009 bonus pool. But the outrage will be brief and of little lasting consequence. The 'hate Goldman Sachs' story has been running just too long.
As China gains ground, its best frenemy – the United States – account for the other half of the top 10 spots. Berkshire Hathaway and Wells Fargo WFC -both move up four spots to No.5 and No. 9, respectively.
“An employee packed up her belongings and walked out without a word.”
This means war: Christopher Nolan's second film not set in the present (or future) is an epic tableau about the rescue of hundreds of thousands of troops from the French coast. Tom Hardy, Mark Rylance, Kenneth Branagh, Cillian Murphy and, er, Harry Styles, star. Think Saving Private Ryan, but saltier.
Summly and Yahoo refused to comment on the deal’s terms.
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.
简而言之，C型人格的人是完美主义者， 始终如一，永远不会违反规则。 与A型人格的人不同的是，C型人会花时间处理细节，经常反复检查工作是否准确。他们往往是深思熟虑的人，喜欢了解自己工作和生活的每一个细节。
Apple Chief Executive Officer Steve Jobs holds the new " iPad" during the launch of Apple's new tablet computing device in San Francisco, California, in this January 27, 2010
改编自上世纪70年代真实贿赂事件的影片《美国骗局》当晚表现更加抢眼，埃米?亚当斯(Amy Adams)和珍妮弗?劳伦斯(Jennifer Lawrence)凭此片分获最佳女主角和最佳女配角奖。《为奴十二年》虽在提名数量上与《美国骗局》打平，参与了七个奖项的角逐，但当晚只摘得最佳剧情片一个奖项。
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:
Those born after 1995 tend to make more varied choices and are likely to combine work with their hobbies.
Last week, Clinton campaign chairman John Podesta said that the former first lady's shortlist of potential running mates will include women, quickly leading to speculation that Clinton will consider Massachusetts Sen. Elizabeth Warren, a popular progressive, for an all-female ticket.
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.
在牵手其他领域的精英这一点上，谷歌并非独家。今年早些时候，英特尔（Intel）便宣布与美国时尚设计师协会（Council of Fashion Designers of America，CFDA）和奢侈品零售商Opening Ceremony合作，设计智能手镯。时尚品牌汤丽柏琦（Tory Burch）也与Fitbit携手设计了与可穿戴技术创业公司Misfit Wearables的无线运动跟踪器Shine Tracker类似的吊坠与手镯。而苹果（Apple）也发掘了各行各业的人才，包括博柏利（Burberry）前任首席执行官安吉拉o阿伦德茨（担任零售主管）、伊夫o圣o洛朗（Yves Saint Laurent）前任首席执行官保罗o丹尼佛以及耐克（Nike）的前任设计主管本o谢弗。
Romance was different then - with no computers, letter writing was the only way to stay in touch and remains more romantic than emails, he said.
With the release of his book Conscious Capitalism, Whole Foods (WFM, Fortune 500) CEO John Mackey got business leaders thinking about a compelling idea: Companies work best when they create value for all their stakeholders -- not just investors. According to Mackey, key stakeholders include customers, employees, suppliers, society, and the environment. Highlighting companies like Costco, Southwest Airlines (LUV,Fortune 500), and Google (GOOG, Fortune 500), Mackey demonstrates that thinking about more than just the bottom line builds stronger and more efficient businesses.
To start with, a year before the first iPhone was released, LG had introduced a full touchscreen phone. Even that was not the first, though. The world's first touchscreen phone was IBM's Simon, which was released in 1992. And touchscreen technology even predates the Simon. The first touchscreen device was a tablet made by E.A. Johnson in 1965 that was used by air traffic controllers until 1995. Bent Stumpe and Frank Beck made the first capacitive touchscreen in the early '70s. Unlike Johnson's tablet, it could not be pressed with the fingers. Instead, it required a stylus. In 1971, Samuel Hurst developed the first resistive touchscreen, which he called the "elograph." It responded to the fingers as well as a stylus. In 1985, HP invented the world's first touchscreen computer, called the HP-150. In 1993, Apple also released its first touchscreen device—the Newton Personal Digital Assistant. The product was a flop, recording low sales.
Gabriel: Well, there’s just one problem.
Emily: What’s that.
Gabriel: I like you.
This quiet, intense Israeli film unfolds like a psychological thriller. A poetry-loving teacher discovers that one of her young pupils is a literary prodigy, and takes increasingly extreme measures to protect his gift from an indifferent world. As the story unfolds, it becomes clear that Mr. Lapid is engaged in a stealthy, ferocious critique of a society that has sacrificed its spiritual values and its cultural inheritance on the altar of power and materialism.
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