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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 电子社保卡要来了!人社部:今年实现至少1亿人领取. 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.

1、阅兵仪式
开发商:Remedy Entertainment、Microsoft Studios
To put this all in a bit more perspective, the current World Cup is averaging more goals than any of the top leagues around the world averaged in 2013/14. TheNetherlands' Eredivisie was the highest scoring of the top European leagues at 3.20 and the Bundesliga was just a shade behind at 3.16. No other top European league averaged more than 2.80 last season. In theAmericas, Major League Soccer is the current pace setter at 2.89 goals per game.
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这是最好的时代,这是最坏的时代……
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中国富豪的账面财富突然暴涨,乃至此前不为人知的大亨一跃成名,都不是什么稀罕事,在股市上市和其他公开投资会将他们一下子推到聚光灯下。
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adj. 自发的,自然产生的
East New York in Brooklyn will be the test case when the Department of City Planning presents initial recommendations early next year. After that, the rezoning process could begin for the neighborhood, among the city’s poorest. A proposal for west Flushing in Queens is next.

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

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James Bond Themes Honorable Mention: "We Have All The Time in the World" by Louis Armstrong
欢迎来到英国,不过在我开始介绍之前请先接受我们的道歉。你们在入境检查时等了4个小时的噩梦本不应该是英国轻视外国人的象征。这只反映了英国在一项如此重要的赛事来临时对旅游基础建设的投入严重不足。换句话说,是英国政府怠慢了你们。别不开心,政府对我们也不咋地。
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“我们现在从中国看到的情况不仅仅是巴西一国的现象,我们在整个拉美都看到了同样的情况,中国对所有市场的出口都在下降,”负责马士基航运在巴西、巴拉圭、乌拉圭和阿根廷业务的执行董事安东尼奥?多明格斯(Antonio Dominguez)表示,“已经连续几个季度出现这种情况,但随着我们进入(2016)年,这种局面变得越来越明显了。”
这些人当中,有些人会借助另一些问题表达他们的忧虑:贸易、犯罪、毒品战争、边境控制、对伊斯兰恐怖主义的恐惧。诚然,这些问题都很重要,也为许多人带来了真切的恐惧,但是它们已经变成一种方式,公众借助这些问题来讨论社会变革对于占多数的白人群体的影响。

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:

IFAD的政策顾问、这篇报告的作者佩德罗·德·瓦斯孔塞卢斯称:“这确实是一个全球性的现象,由于缺乏机会,人们不得不背井离乡,出门打工养活家人。”
The year before, Taiwanese anti-China protesters chose the sunflower as the symbol for their cause.
12. Most Hopeful Sign At one point, you could feel the status quo shift as it became O.K. to talk about discrimination in the industry not just openly but also loudly. Viola Davis spoke out, as did Jennifer Lawrence, who went public about making less than her male co-stars. “I didn’t want to seem ‘difficult’ or ‘spoiled,’” she wrote in the newsletter Lenny, speaking for many, including those with far more modest paychecks.

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

vi. 谈话,讲述
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To make sure the plan goes through, the central government must reinforce the plan to co-ordinate basic pension, enhance enterprise annuity and manage personal accounts properly, Yang said.

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Gabriel: Well, there’s just one problem.

Emily: What’s that.

Gabriel: I like you.

Grains have fallen about 3 per cent.
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productive

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