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 公积金提取、保障房看房、施工许可办理等业务实现“零跑腿”. 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.
The kitchen addition, about 40 feet long, was designed to be in keeping with the original house, with intricate ceiling woodwork and several colored-glass panels by Century Studios, a Minneapolis company that secured its glass from the Chicago manufacturer used by Frank Lloyd Wright. Stainless-steel appliances include a five-foot-wide range and a Sub-Zero refrigerator. The dining area opens to a back patio through 10-foot-tall glass doors.
The paperpot transplanter allows a single person to transplant 264 plants covering over 85ft in just minutes. What used to take hours, now takes minutes. Allowing you to spend less time transplanting crops, and more time doing other things like farm improvements, marketing, sales, or just taking some time off.
South Korean activists vowed Tuesday to sneak copies of Hollywood satire "The Interview" across the border by propaganda balloon later this month, in defiance of North Korea's repeated threats.
The state-sponsored purchasing managers' index fell from 50.8 in October to 50.3 in November, the lowest reading since March. Any level above 50 indicates expansion.
Farewell to Cassini
Several car names were among the top 50, from ‘ferrari’ to ‘mercedes.’
"This is something we believe is really important for the future of our country,"Facebook (FB, Fortune 500) CEO Mark Zuckerberg said in August.
The other finalists, each of which will receive 10,000, were: Losing the Signal , by Jacque McNish and Sean Silcoff, who look at how BlackBerry went off course; Digital Gold , Nathaniel Popper’s examination of the rise of bitcoin, the virtual currency; How Music Got Free , Stephen Witt’s history of the way piracy and peer-to-peer sharing have disrupted the recorded music industry; Anne-Marie Slaughter’s new book Unfinished Business , about the challenge of achieving gender balance; and Misbehaving , in which Richard Thaler traces the development of behavioural economics.
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.
The other two manufacturers, OPPO and vivo, both achieved growth of over 100 percent, shipping 99.4 million and 77.3 million units respectively in 2016.
Lady Gaga ranks fourth with $59 million, followed by Beyoncé at $54.5 million. The former played 66 shows during our scoring period, also cashing in on deals with Versace and MAC, as well as her own Fame fragrance. The latter’s On The Run tour with husband Jay Z grossed over $100 million for 19 North American dates, giving music’s first couple a nightly average comparable to that of the Rolling Stones.
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:
Opinion: China’s Commercial Aerospace Dream Edges Closer To Reality
An otherworldly romance between a mysterious aquatic creature and a mute girl, played by Sally Hawkins.
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.
Andersl?v, Sweden was plagued by residents with green hair. Johan Pettersson discovered that there was too much copper in their water.
China is committed to denuclearization of the Korean Peninsula, the peace and stability in the Korean Peninsula, and resolving issues through dialogue and consultation. That is China’s consistent and clear-cut position.
THE SLAP (NBC, Feb. 12) Jon Robin Baitz and Lisa Cholodenko are producers of this adaptation of an Australian mini-series about the fallout from a momentary loss of control at a backyard birthday party. The impressive cast includes Peter Sarsgaard, Uma Thurman, Thandie Newton, Brian Cox and Melissa George (who also appeared in the original).
Brazil lost that 1950 final, 2-1, to Uruguay, a historic humiliation that still stings Brazilian fans today. Belmonte, 85, hopes he'll get to see his country regain its honor. "I hope Brazil will be able to win this time," he said. "This is our revenge. I want to go see our revenge."
Gabriel: Well, there’s just one problem.
Emily: What’s that.
Gabriel: I like you.
Foreign robot makers sold 103,191 robots to China in 2017, up 71.9% from a year earlier.
Will Washington's tentative truce continue?
"Producer prices remain in deflation because of falling commodity prices," said Moody's Analytics before the report.
“I’m 17 – I want to be with my family and friends and school,” he said. “I’m going to be in London for the foreseeable future.”
The letter surfaced in a Pennsylvanian university mailroom earlier this month.
It all started when Beatty opened the envelope to read the winner for best picture. He looked confused, took a long pause and then glanced at Dunaway. "Come on!" Beatty handed the envelope to Dunaway, who announced: "La La Land!"