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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 葫芦堡:传统家具企业插上动漫翅膀. 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.

3.别理会那些出现在CNN国际频道里、告诉你英国行为规范的打领结的专家。这些家伙通常来历不明,自己住在美国加州,却试图提供一些要么不相干要么过时了的建议。比如说,他们通常会告诉你,英国人喜欢排队;喜欢说对不起,即使有时候并不是他们的错误。而事实上,英国人也喜欢插队,而且还会用咳嗽把排在他们后面的人也吓跑。这取决于天气有多闷热潮湿。
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7. Corrections officer
China's economic performance in the past few years should suffice to put predictions of a hard landing to a full stop. China's economy will continue to enjoy medium-high growth and be upgraded to higher levels
The predictions of no further action in an annual Financial Times poll of eurozone analysts came despite Mr Draghi’s attempts to convince markets that the ECB remained primed to act should inflation and growth across the single currency area continue to disappoint.
*喜剧类最佳客串男演员:彼得?斯科拉里(Peter Scolari),《都市女孩》(Girls)
9月28日
The requirements come from one of two newly issued regulations over the taxi and online ride-hailing services by China's transportation authority. The regulations will take effect in October and November respectively.
单词elite 联想记忆:
下载量紧随《权力的游戏》之后的是美剧《绝命毒师》和《行尸走肉》。以下是根据BT下载网站 TorrentFreak和BitTorrent 数据统计的2013年被下载次数最多的美剧排名:
9、《神奇动物在哪里》
After a run with One Direction, Harry Styles could have gone anywhere he wanted.

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

劳伦斯2016年的收入比2015年(5200万美元)减少了11.5%。本周四福布斯杂志还将发布2016年收入最高的男星排行榜。去年荣膺榜首的是小罗伯特-唐尼,收入约为8000万美元。
今年上榜的十亿美元级富豪为1810名,低于去年1826人的记录。上榜富豪净资产总计为64800亿美元,比去年减少了5700亿美元。
那么,这对2015年的油价意味着什么呢?人们对此各执己见。然而,今后12个月的油价走势将由下列五大因素(排名不分先后)决定。
噢,卡梅隆,真希望你还有高中时的风采,因为那时的你是史诗般的存在。
智能水瓶
这些,都只是纽约人2015年将会遇到的部分问题。而且,邻居家的儿子在圣诞节收到了新的爵士鼓,你又免不了要头疼了……
Unemployment was the most searched for financial item, followed by "Wall Street companies" and "recalls".

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:

《盗墓笔记》
According to the annual Global Trade Protection Report, companies in the US launched 43 anti-dumping cases in 2015 and a further 22 anti-subsidy investigations aimed at securing countervailing duties. The US took the lead in both areas, overtaking India and Brazil, which launched the most cases in 2014 and 2013.
The report said families back home receive an average of $200 a month, which makes up 60 percent of the household income.Using the steady flow of remittances, families can buy food, get housing, go to school, access healthcare, improve sanitation, or even invest in a business and have some savings, the report said.

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

“有个人请妻子跟自己老板打电话说他不会再来上班了。”
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affect+ion→感动→感情;友情

还记得《类人猿行动》吗.这是一部被众人忽略的2016年早些时候的电影,由杰米.多南和斯里安.墨菲担任主演,讲述了对希特勒身边的三把手、党卫队将军莱因哈德.海德里希进行的一次失败暗杀。《行动代号:猿人》也尝试讲述这一故事,杰克.莱诺和奥康奈尔将在片中饰演密谋的士兵,而罗莎曼德.派克和米娅.华希科沃斯卡是他们片中的感情对象,杰森.克拉科则饰演他们的刺杀目标。
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Gabriel: Well, there’s just one problem.

Emily: What’s that.

Gabriel: I like you.

It was the spring of hope, it was the winter of despair…
007系列电影主题曲第三名:阿黛尔--《天降杀机》
I can't stop thinking that these children are my age, that it makes a tremendous difference where you are born, that I could be one of those children living in the Favellas of Rio; I could be a child starving in Somalia; a victim of war in the Middle East or a beggar in India. 我永远不能忘记这些和我同龄的孩子,当你出生的时候,他和我们真的很不相同,我也许生活在贫民窟,也可能是终日饿着肚子的小孩,也可能是中东战争的牺牲品,或者印度的小乞丐。

卓越雇主排名:59
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单词deputy 联想记忆:
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Recent years have seen a return of the bacterial infection, reaching numbers not seen since the 1960s, with admissions for a primary diagnosis more than doubling between 2010/11 and 2017/18, from 429 to more than 1,300.
And others simply disappeared:

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