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 港漂买房记：香港总价太贵 深圳回报率低. 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.
西班牙IE商学院上演“帽子戏法”，在英国《金融时报》“在线MBA排行榜”上连续第三年夺冠。英国华威商学院(Warwick Business School)连续第三年排在亚军位置，英国杜伦大学商学院(Durham University Business School)首次跻身前三甲。
Amy Poehler made out with Bono, Tina Fey mocked George Clooney's taste in women and Matt Damon emerged, bizarrely, as the night's recurring gag.
We’ve all had them: bosses and managers who make our work lives terrible and couldn’t manage a stack of paper clips, let alone a team of employees. I’ve written about the traits that make for bad bosses before, and in that article, a thoughtful commenter came up with his own list of what makes a good boss。
Artificial pancreas, however, knock insulin into your body automatically. The device looks much like a regular insulin pump, which slips you insulin continuously through your skin, but this one monitors your blood sugar at all times and adjusts itself accordingly. So even when the wearer sleeps, there's no danger of falling into shock if their sugar drops too low.
Rouslan Krechetnikov和Hans Mayer对液体的溅出现象进行了研究。他们考察的课题是：人们在端着咖啡杯走动时咖啡的溅出情况，给你个提示吧，在你走到第七步至第十步之间，咖啡最容易溅出。
201011/117323.shtmlThe French actress will star alongside Ryan Gosling, Michael Fassbender and Natalie Portman.
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 scientists’ analysis comes only a month after nearly 200 governments struck a new climate agreement in Paris that aims to stop global temperatures from rising more than 2C from pre-industrial levels, and ideally limit warming to 1.5C.
"A 12-year-old boy doesn't want to start spending 100,000 euros."
5. Life is like a coffee table: it’s got tea sets and dinnerware all over it. (beiju, 杯具, is a homophone for tragedy, 悲剧, and dinnerware, canju, 餐具, a homophone for disaster, 惨剧).
The improvements in education levels mirrored the development of China's education system. Independent research into China's education situation showed that overall education development was better than the world average last year, Yuan Guiren, minister of education, said in March.
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:
In news that should come as little surprise to global air travelers, Singapore's done it again.
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.
But the UK courts may land a heavy blow on ride-hailing app Uber. In 2017, the California-based company failed to persuade an appeal judge that two of its London drivers are independent contractors. In 2018, the test case will go to the Court of Appeal and possibly to the Supreme Court. If Uber loses the case and is told to assume the responsibilities of an employer, the implications will ripple far and wide.
Gabriel: Well, there’s just one problem.
Emily: What’s that.
Gabriel: I like you.
Coca-Cola is in the middle of transforming its business as it sells off its bottling operations in the US and across the globe to focus on producing the concentrate that makes many of its drinks as well as research and development. Those sales will allow the company to focus more of its resources on innovation and acquisitions.
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肯尼迪中心为她的善举给她颁发了希望的波澜奖（the Ripple of Hope Award），泰勒也成为此奖项的最年轻获得者。
3. Flying Horse
Vo said with each plane flying 12 to 16 segments a day, one late flight can easily cascade into several delays in a single day. To offset that, the airline’s systems operation and control center makes adjustments when needed. That can involve inserting spare planes and extra crews into the schedule to make sure flights stay on time.
André Aciman’s 2007 novel has spawned a big screen adaptation that’s among the most acclaimed films of the year. Up-and-coming 21-year-old actor Timothée Chalamet plays a young man living in Italy who has a passionate affair with an older academic (Armie Hammer). When it premiered at the Sundance Film Festival in January, BBC Culture critic Sam Adams awarded Call Me By Your Name five stars and praised Chalamet and Hammer’s chemistry, the lush photography of the sun-kissed Italian setting, and the particular nuance and depth of the script. It will be a major Academy Awards contender. Released November 24 in the US. (Credit: Sony Pictures Classics)
This year, China will further enhance international cooperation in fighting corruption, said a statement adopted at the second plenary session of the 19th CPC Central Commission for Discipline Inspection.