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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 国家统计局:加快推进房地产税相关政策举措的推进. 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.

科技界的女性:科技行业今年第二度作为权势女性榜上的一个分类。前25位最有权势的女性中,5位来自科技行业,包括Facebook的雪莉·桑德伯格(桑德伯格新书《Lean In》下载>>)(排名第6),IBM的罗曼提(排名第12)和惠普的梅格·惠特曼(排名第15)。上榜的科技界女性总共有16位,还包括谷歌的广告高级副总裁苏珊·沃西基(排名第30)和华为公司董事长孙亚芳(排名第77位)。
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PC demand has been hit by competition from smartphones and tablets, along with longer lifecycles for PCs. Shipments fell in all regions around the world and have declined for five quarters in a row, according to IDC's figures.
工业部和信息技术部的数据显示,上月新能源汽车的产量为1.61万台,比去年同期大幅上涨了144%。全电动乘用车的产量达到7952台,是去年同期的三倍。政府数据显示,一月份生产的新能源汽车,97%都有资格享受税收优惠政策。
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Many technicians think that during the course of this century computerized robots might compete and win against humans.
美国则在2016年下降为德国的第三大贸易伙伴。
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5月7日-11日
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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

Yet the pizza is far from the first recipe to incorporate a bit of the precious metal. Earlier this year, Bj?rn DelaCruz, the owner of Filipino restaurant the Manila Social Club, in Williamsburg, New York, created the pricey Golden Cristal Ube Donut.
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Her mother Stephanie Boyden, 32, says Bobbi is a 'diva' who runs to the stage when her name is called - and screams when she has to leave.
联邦、州和地方政府的裁员速度开始放缓。去年各级政府部门有逾25万人失去工作。今年截至目前,约有两万人找到了工作。经济学家说,美国的债务和赤字问题引发的担忧可能将限制政府支出和投资,但基础设施支出的任何反弹都会创造就业岗位。至少政府带来的拖累会减小。[qh]
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n. 复合体

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:

The 60-episode TV drama was adapted from a novel Legend of Princess Pearl published in 2007. It focuses on the protagonist Shen Zhenzhu’s romance with her husband and their efforts to protect the country.
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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

The memes included jokes about pedophilia, child abuse, sexual assault, and the Holocaust.
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Gabriel: Well, there’s just one problem.

Emily: What’s that.

Gabriel: I like you.

n. 回答,响应,反应,答复
A 19-year-old girl, referred to as Guo Lingling (this may be a pseudonym), was allegedly struck and kicked repeatedly by her so-called instructors after failing to ask permission to go to the bathroom. An autopsy report showed she died from skull injuries and brain damage.
乔斯·威登在度假的时候萌发了创作《萤火虫》的设想。他当时正在读一本叫做《天使杀手》的书,这本书讲述了一名葛底斯堡战役中的士兵的故事。威登深深地被这个士兵日复一日的艰辛生活所吸引。这本书的作者描写了大量日常生活中的繁琐细节,以及人们如何在缺乏现代科技和商业之便的情况下艰难度日。而威登对这种描写方式推崇备至。

"It is my belief that due to their lack of ability to curve cheat codes and others from modifying their game, they are using a 14-year-old child as a scapegoat to make an example of him," she said.
The mother-to-child transmission rate also reached its historically low point last year, dropping from 7.1 percent in 2012 to 4.9 percent in 2017, Wang said.
《出生于缅甸皇室的她成为军阀和大毒枭》(The Female Warlord Who Had C.I.A. Connections and Opium Routes)
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中国为包括棉花、糖和玉米在内的大宗商品设置的最低价格过高,当这些价格偏离市场价格时,政府鼓励了过度生产以及强劲的进口。
He took out his textbooks and busied himself with his daily homework routine.

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