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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 盘点:2016建材行业四大市场格局. 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.

买securities很不security(n 安全)
报告指出,大连万达集团主席王健林以321亿美元的个人财富荣登榜首,而马云的个人财富在2015年上涨了41%。
2013年北京入境游客的减少可谓出乎意料。此前北京市出台了72小时过境免签等多项新政策,其目的正是为了促进旅游产业发展。
人力资源和社会保障部的一位官员称:“根据往年的经验,在报名窗口快关闭时,报名人数会剧增,尤其是在最后三天。”
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'My first duty, my first responsibility was to be true to the original feel of the book, to be true to Ian Fleming: his creation, his world and his ideas.
俄罗斯把自己看作超级大国 -- 这在国内是毋庸置疑的。
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IMD participants praised the way their training pushed them out of their comfort zones and also the one-on-one coaching sessions tailored to their individual business situations. “It was an eye opener about what a good leader is,” commented one participant. “We learnt about ourselves first, what drives us and why, in order to manage others.”

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

Piano and ballet performance “On My Fingertips And Toes” (Lang Lang and Hou Honglan)
Alice Schwarzer, who has battled for women’s rights for years, is stunned that “an old-school sexist” like Donald J. Trump could win the United States presidency.
1.Provide strong leadership and a clear vision
这段深入11岁女孩心灵与情感的旅程可能是皮克斯迄今最疯狂的冒险。这是一部非常有趣的工作场合情景喜剧,艾米·波勒(Amy Poehler)、菲利丝·史密斯(Phyllis Smith)和敏迪·卡灵(Mindy Kaling)等人带来了精彩感人的演出,这是一则关于心理发展的精巧语言,也是对于悲伤在我们的生活中所扮演的角色的一种感人而诚恳的辩护。
单词virtue 联想记忆:
Consider:
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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:

Jia Yongsheng general director of the demolition company told China's state TV channel CCTV: 'For this kind of large-scale blasting demolition conducted in the downtown area we not only need to guarantee the demolition result but also strictly control the adverse effects of blasting.'
These are just some of the issues that will face New Yorkers next year. And then there’s the new drum set the neighbor’s son received for Christmas ...
乔布斯在苹果博览会上手持iPhone ,2007年,1月9日,旧金山

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

To wish you joy at this holy season. Wishing every happiness will always be with you.
女子200米蝶泳——刘子歌、焦刘洋
Rare pictures have been released showing the ancient sex toys that once belonged to the Chinese royals and aristocrats.

对投资者而言,今年对行业的准确判断还只是个小问题,因为除了美股,今年全球的投资好选择不多。
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Gabriel: Well, there’s just one problem.

Emily: What’s that.

Gabriel: I like you.

开发活动也处于白热化。GitHub网站上的贡献者图标显示,2014年11月,对比特币主码的贡献总量处于2012年春季以来的最高值。此外,就被“分叉”的次数而言,比特币在GitHub上90多万储存库中名列第31位,“分叉”基本是指提议或正在对核心代码进行的改动。换言之,对于开发者来说,比特币风头正劲。比特币公司目前公布的空缺职位的数量,也突显了开发者的兴趣。跟踪该趋势的Bitcoin Pulse称,如今,此类空缺职位数高达105个,接近九月137个的历史最高值。
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该杂志指出:“特朗普的财富与特朗普大厦和距其一英里范围内的八座建筑紧密相关。在该微小市场所发生的一切,对特朗普净资产的影响超过了世界上其他任何事情,而最近,周边房地产市场已经开始陷入挣扎(相对而言)。”

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China's movie box office revenue grew 9 percent to $8.9 billion (RMB 60.98 billion) in 2018.
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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.
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伊莎贝拉卡敏斯卡(Izabella Kaminska)

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