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 社科院报告：应进一步完善住房限购政策 避免误伤刚需. 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.
《蓝色茉莉》(Blue Jasmine)：按年代顺序排列，本片属于导演伍迪?艾伦(Woody Allen)自我更新晚期的作品。不过，从艺术角度看，该片算得上是伍迪?艾伦作品中最优秀的喜剧之一。该片的卖点是凯特?布兰切特(Cate Blanchett)的出彩演绎，曾在《欲望号街车》中出演布兰奇?杜布瓦(Blanche DuBois)的凯特?布兰切特这一次出演女主角茉莉，离婚后精神状态有些癫狂。亚历克?鲍德温(Alec Baldwin)在剧中扮演茉莉的丈夫，是一个类似于马多夫(Bernie Madoff)的行骗者。其他人物方面，在经历了欺骗和失望后，莎莉?霍金斯(Sally Hawkins)、安德鲁?戴斯?克莱(Andrew Dice Clay)鲍比?坎纳瓦尔(Bobby Cannavale)以及路易?C.K(Louis C.K.)等人扮演的角色最终都找到了自己的方向。
One of the biggest trends I’m noticing in entrepreneurship right now focuses on access. Innovators are taking what was once costly, time-intensive, or otherwise beyond reach and efficiently offering it to consumers. Whether it’s learning new skills, inspiring a new interest, or tapping into formerly cost-prohibitive markets, entrepreneurs are finding new ways to bring the unique and specialized to a more mainstream market. We started to see this with collaborative consumption business models and I predict we’ll continue to see an influx of ‘access-based’ business models in the year ahead.
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TextPride was a fine business, but a tiny one. Meanwhile, the market for messaging apps was exploding. Facebook FB 0.61% bought WhatsApp for $19 billion; that service now has 700 million monthly active users. Tango, an app with 250 million registered users, is worth $1.5 billion. Kik has 200 million registered users. Snapchat, worth $10 billion, has 100 million users. A new study, commissioned by Kik, shows that U.S. users now spend more time on average in messaging apps than they do on social networking apps. The only problem? These messaging apps need ways to make money, and there’s no reasonable way for advertisers to wedge themselves into conversations between friends.
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.
当发生问题时，库克会迅速而无情地采取行动。2012年底，苹果过早推出了有缺陷的苹果地图(Apple Maps)应用之后，库克解雇了乔布斯的亲密盟友、领导开发iOS的斯科特?福斯托(Scott Forstall)，以及前Dixons首席执行官、掌管苹果零售部门不到一年的约翰?布劳伊特(John Browett)。此举传递出一条信息：库克不会容忍业绩不佳或内部政治。
Sometimes bosses suck. But if your boss sucks all the time and takes advantage of your time, it's time to find a new job.
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.
It was the best of times, it was the worst of times…
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9) Well Done: It’s a cliché, no doubt. Sometimes, it isn’t enough just to say thanks. People want to know what they did was great and why. They pour so much sweat and soul into their projects.They need to know their work was special and had meaning to someone.
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Gabriel: Well, there’s just one problem.
Emily: What’s that.
Gabriel: I like you.
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If the answer is "yes", then maybe you are a Type D personality.
8) I am a closed kind of person 0 1 2 3 4
That's part of the logic, anyway, behind the unlikely candidacy of Ethan Sonneborn, a 13-year-old running for governor of Vermont, one of just two states with no minimum age requirement for the office.