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 普通人买一套房至少不吃不喝16年 值不值？. 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.
As stars such as Kevin Spacey and Morgan Freeman were alleged to have assaulted or harassed performers, activists began using the hashtag to share their ordeals online.
8.Please aid the Olympic authorities and organisers by demonstrating at all times that you are not a terrorist. Do not perspire, take off your shoes, smile in a weird way while texting someone, or point and shout: "Hey! Look at all those missiles on that roof over there!" In fact, if you're not using your hands for anything, it's probably best if you keep them in the air where everybody can see them.
Argentina, the host nation's big rivals, are in with a great chance too. Any team featuring Lionel Messi is going to be in with a shout, but when you add to that the likes of Sergio Aguero, Gonzalo Higuain and Ezequiel Lavezzi, then it's a team with one of the best sets of attacking options in the tournament. Likewise, Uruguay's attacking trio of Luis Suarez, Edinson Cavani and Diegoi Forlan is about as potent as it can get, and is capable of scoring goals against any team in the world, although whethere the rest of their team is strong enough is open to debate.
On 2 March, the North's state-run website Uriminzokkiri warned that Pyongyang would respond to any balloon launches with "not just a few shots of gunfire but cannons or missiles".
三大能源机构近期表示，今年石油输出国组织(Organization of the Petroleum Exporting Countries, 简称：欧佩克)以外国家的原油产量将增加，其中大部分来自美国的页岩油。除此之外，由于伊朗、伊拉克和利比亚可能会增产，中东地区的原油产量也许会增加数百万桶。所有这些势必会令油价承压。
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.
Glazer surely took something, again, from Kubrick, especially in the scene in which his alien is born in some dimensionless otherworld. He took something from Nic Roeg and The Man Who Fell to Earth and a little, perhaps, from David Lynch – of which, more in a moment. But alongside the sci-fi exoticism he brought the grit and sinew of contemporary realism, calling to mind the work of film-makers like Ken Loach, or even Abbas Kiarostami and the opening of his The Taste of Cherry, in which a desperately unhappy man drives around the itinerant labour markets of Teheran looking for someone to help him. These fantastic alien forms are scuffed with ordinariness and even bathos. The scene in which the alien uncomprehendingly watches Tommy Cooper on television is a masterpiece of tonal suspense.
"Although it may seem counterintuitive, the best way to maximize profits over the long-term is not to make them the primary goal of the business," Mackey said in an interview earlier this year.
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 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.
“Cooling measures [are] the most important issue affecting the [residential] property market in Hong Kong,” says Thomas Lam, head of valuation at Knight Frank. “That is why all the major institutional plans are looking at the office market in the past two or three years.”
You don't know how to fix the holes in our ozone layer. You don't know how to bring salmon back up a dead stream. You don't know how to bring back an animal now extinct.And you can't bring back forests that once grew where there is now desert. If you don't know how to fix it, please stop breaking it! 您不知道怎么去修补大气的臭氧空洞，您也不知道怎么去从死亡的河流中拯救鱼类，您更不知道如何把灭绝的动物复苏，您也不能把沙漠中从前完整的森林带回来。如果您不知道如何拯救，那么请您停止破坏吧！
In a bid to raise awareness of one of the world's most endangered species and the Chengdu Panda Base in China, the 108 performers were hard to miss as they entertained Londoners and children during school visits with conservationist and base ambassador Nigel Marven.
This year, several professions geared toward serving the financial and health needs of an aging population made the top ten, says Lee, including audiologist, financial planner, and physical therapist.
Gabriel: Well, there’s just one problem.
Emily: What’s that.
Gabriel: I like you.
7. An unexpected new lung function has been found. Researchers have found that lungs don't just facilitate respiration - they also play a key role in blood production, with the ability to produce more than 10 million platelets (tiny blood cells) per hour. That equates to the majority of platelets in circulation at any given moment.
然而，澳大利亚和西班牙学校表现不错。这两个国家分别有3所学校上榜，且排名均有上升。悉尼的麦考瑞大学管理学院(Macquarie Graduate School of Management)是澳大利亚排名最高的学府，排在第49位，而西班牙IE商学院(IE Business School)的排名上升4个位次，排在第8位，这是这所位于马德里的学校自2012年以来首次回到前10名。
2.Hold themselves and others accountable
Best Companies rank: 25
“Tangerine” (Sean Baker)