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 北京燕郊楼市重回万元时代 专家建议谨慎购买. 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.
Over 90 percent of them attended schools in English-speaking countries, such as the US, the UK and Australia, and over 70 percent pursue at least a bachelor's degree, according to the MOE.
‘Veep’ “House of Cards,” the Netflix phenomenon, showed its weaknesses this year, but HBO’s “Veep,” the other most cynical show about Washington, got stronger in its third season. The scene in a restroom in which Selina (Julia Louis-Dreyfus) and her assistant, Gary (Tony Hale) discover that she is going to become president and dissolve into uncontrollable laughter was one of the great comic moments of 2014.
Christie’s biannual evening sale on Dec. 8 raised just 6.5 million pounds with fees, about $9.7 million, against a low estimate of 12.7 million. Nineteen of the 45 works, or 42 percent, failed to sell, including the two most highly valued lots — a 1582 watercolor study of a hare among plants by Hans Hoffmann, a pupil of Albrecht Dürer, and a fine 1770s Francesco Guardi view of the island of San Giorgio Maggiore in Venice, carrying low estimates of 4 million and 1.5 million respectively.
One might expect that online programmes would appeal proportionately more to women than full-time programmes due to their flexibility. How-ever, data from the 2016 rankings show that women account for 30 per cent of enrolled students compared with 35 per cent for full-time programmes.
You can browse the full list at AskMen.com. Here are the top 10 women:
Two days ago here in Brazil, we were shocked when we spent some time with some children living on the streets. And this is what one child told us: "I wish I was rich and if I were, I would give all the street children food, clothes, medicine, shelter and love and affection." 在巴西，我被2天前见到的情景震惊了，那时我和当地的小孩在玩耍，其中一个小孩说：“我希望我能富裕起来，然后我会给这个街道所有的小孩饭吃，给他们衣服穿，医疗，住房和爱”。
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.
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You are so engaged in thinking of him that you don't notice that there is no No.12.
This was never more powerful than when he talked publicly for the first time about his sexuality.
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.
A sub-index tracking activity at larger enterprises softened 0.7 points to 53.1, while mid-sized companies fell 1.3 points to 49.9, indicating slight contraction. That for smaller manufacturers fell 0.4 points to 49, indicating worsening contraction.
'That's something that would be challenged, I think, in the 21st century.
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And despite exports having fallen 7.3 per cent during the same period.
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Gabriel: Well, there’s just one problem.
Emily: What’s that.
Gabriel: I like you.
'It's all bullshit. It's a lie. It's a Band-Aid lie to make them feel better. I know these people, I know they're lily-livered, and as long as it looks good on the surface, to them, that's enough.'
The hair creates a resemblance to the look of Michelle Pfeiffer, but Ms. Chastain gives it more of an edge. Kay Georgiou, who frequently styles the hair of Matt Damon and Gwyneth Paltrow for films, oversaw the look.
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Tesla says it enjoys sales per square foot at its showrooms that are double that of Apple . The tech company is currently considered the industry leader.
"Well, I am going to have a Cabinet that looks like America," the former secretary of state replied. "And 50 percent of America is women, right?"
MasterCard says its index reflects the interconnectedness of major global cities and tracks the ways in which business and leisure jet-setters spend their money.