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 长沙公积金暂未考虑类似北京的政策调整. 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.
Leatrice Eiseman, the executive director of the Pantone Color Institute, said the joining of the two colors reflected “a soothing sense of order and peace” — presumably an attractive thing to incorporate into a product at a time of insecurity and global turbulence. It also implies that there is no line between “us” and “them.”
Sam Smith is a fluid soul man, with style channeling Otis Redding, Aretha Franklin and Ray Charles alongside modern icons like Amy Winehouse and Adele.
On Monday night, Ankara confirmed that the Dutch ambassador would not be welcome to return to Turkey.
adj. 故意的，有意的；打算中的 n. 已订婚者 v.
Switzerland, Sweden and the UK again occupied the top three slots in the ranking. Fifteen of the top 25 economies in the GII come from Europe.
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.
While the real Rain Man never counted cards, his mental abilities were just as unbelievable. Kim Peek was a uniquely talented savant who possessed a nearly perfect memory. Among his many skills, Peek memorized every road on the map, the composers and dates of countless songs, and incredibly detailed historic facts. After Rain Man, he spent his life touring the country and campaigning for the disabled, to the delight of many who were able to witness his unique gift in person.
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:
As the younger generation begins to frown on Bond’s chauvinistic attitudes and unhealthy lifestyle in the era of political correctness, Horowitz has introduced a cast of new characters who will point out the error of his ways.
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.
Ah yes, the other reason Sacramento shouldn't tank: Philadelphia has the option to swap picks with them this year. It's actually impossible for the Kings to get the No. 1 pick because of that, and it hurts their chances at a top-three pick overall.
But Schultz didn't stop there. The chief executive also offered free coffee for a few days during the shutdown to customers who bought someone else their drink. Schultz hoped the campaign would help people "connect with one another, even as we wait for our elected officials to do the same for our country."
Considering Stryker's founder invented the turning frame -- a device that allows patients to be repositioned in bed while keeping their bodies immobile -- it only makes sense that this medical equipment manufacturer lends employees and their families medical beds, free of charge.
Gabriel: Well, there’s just one problem.
Emily: What’s that.
Gabriel: I like you.
The government also needs to adopt the Internet Plus governance to ensure that government services will be more easily accessible for our people.
Democracy is at bottom a civilised form of civil war.
The first is the establishment of the Aero Engine Corp. of China (AECC) last year, which consolidates Chinese aero-engine know-how and capabilities, indicating that the indigenous development of aircraft engines is now a strategic priority for China. This focus is even more striking when one realizes that China now has access to rhenium, a rare metal that helps create strong superalloys necessary for the manufacture of high-pressure jet engine turbine blades. Since the 2010 discovery in the Shaanxi province of reserves, which account for 7% of the world’s total, considerable effort has been made to exploit and process this metal. Moreover, a major technological milestone was recently achieved that opens the door for mass production of single-crystal turbine blades, a key component of modern jet engines. It is thus no surprise that one of the cornerstones of the newly established joint Sino-Russian widebody aircraft program is the development of a dedicated, state-of-the-art engine.
Meanwhile, 78 percent of the civil service jobs offered this year are posts at county or district levels, as the central government seeks to steer more college graduates to jobs at city and county levels, he said.
I give you endless brand-new good wishes. Please accept them as a new remembrance of our lasting friendship.