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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 陶瓷行业扩张后的缩影:藤县陶瓷市场拼杀启示录. 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.

With U.S. e-commerce activity approaching 10% of all retail sales, more merchants are shopping around for easy-to-use platforms that get them selling online quickly.
Yelling at the screen to tell the female protagonist not to go downstairs alone at night will no longer be futile. In this interactive horror game, you control all the action. The story, which was crafted by filmmakers Larry Fessenden and Graham Reznick alongside game developers Supermassive Games, traps eight friends in a remote mountain getaway with a psycho on the loose. The game stars a Hollywood cast that includes Brett Dalton (Agents of S.H.I.E.L.D), Hayden Panettiere (Nashville) and Rami Malek (Need for Speed). Players will take control of each of the characters as they explore the creepy world and try to survive until dawn. No one is safe from death. And every choice made in the game will result in a different experience. The script was over a thousand pages long, opening up hundreds of different endings for players to explore. The Butterfly Effect technology ensures that no two games will be played the same. The one constant is that the game is scary. Don’t play this one alone or in the dark.
其他入围者分别是:《失去信号:黑莓离奇崛起与惊人陨落背后不为人知的故事》(Losing the Signal: The Untold Story Behind the Extraordinary Rise and Spectacular Fall of Blackberry),作者杰基麦克尼什(Jacquie Mcnish)和肖恩缠尔科夫(Sean Silcoff)回顾了黑莓是怎样偏离了航向;《数字黄金:比特币背后不为人知的故事》(Digital Gold: The Untold Story of Bitcoin),作者纳塔涅尔波佩尔(Nathaniel Popper)审视了虚拟货币比特币的崛起;《音乐如何变免费:一整代人犯下同样罪行的后果》(How Music Got Free: What Happens When an Entire Generation Commits the Same Crime?),作者斯蒂芬威特(Stephen Witt)介绍了盗版和对等网络共享(P2P)扰乱唱片业的历史;《做不完的事:女人、男人、工作、家庭》(Un滻椀猀栀攀搀 Business: Women Men Work Family),作者安妮-玛丽斯劳特(Anne-Marie Slaughter)在书中讨论了实现性别平衡面临的挑战,以及《行为不端:解读行为经济学》(Misbehaving: The Making of Behavioural Economics),作者理查德泰勒(Richard Thaler)追踪了行为经济学的发展。
1. Apple
v. 扛,肩负,承担,(用肩
问:在过去的几次采访中,你都提到了你和角色之间的联系。那么在目前播放的Aldnoah Zero重,你觉得你和伊奈帆之间的联系是什么?
Google's UK results are split into trending searches and most searched.
时间长度:21个月
5. Gay Marriage
无论黑莓和三星联姻这种事是否发生,时代的发展已经凸显了移动技术下一波创新(和诉讼)浪潮的所在:在日益移动化的世界中掌握权限控制方法,阻止企业遭到黑客袭击。(财富中文网)
税:每年大约18036美元(约合人民币11.5万元)。
拉杜卡(Rocco LaDuca)是纽约州尤蒂卡市(Utica)《观察家快报》(Observer-Dispatch)报道犯罪和法院新闻的记者。他说,之所以选择做记者,一定程度上是源于他和祖母读报的美好记忆。

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

adj. 不可否认的,无可辩驳的
近日中国警方对南部一家不法食品商家进行突袭,曝光成吨的腐臭鸡爪。这些有几十年历史的“美味”经过“特殊加工”后,会卖给毫不知情的消费者。
《使女的故事》
在这座亚洲城市,低于100平方英尺(9平方米)的隔断公寓的租金达到了385美元。
Friends count too
“纽约人正逐渐意识到,这一漫长的繁荣期已对我们眼中的经典纽约市容造成了破坏,”历史街区保护委员会(Historic Districts Council)的执行董事西蒙·班考夫(Simon Bankoff)说,他同时指出,2015年将是纽约市通过《地标建筑保护法》的50周年。“环顾左右,那些总被我们认为是一成不变的东西,却都在纷纷关门闭户。”
In the past six months alone, the Australian-born company fortified its senior executive ranks with high-profile hires from Amazon, PayPal, Google, and Twitter. It brokered a high-profile deal with Magento, the market leader, that promises to bring thousands of new customers to it. And it broke the lease on its new San Francisco office because it is hiring so quickly that it now needs triple the space it originally anticipated.

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:

它曾经是一家傲视业界、富可敌国的投资公司,能从世界一流的金融机构源源不断地获得贷款。它用借来的钱大把大把地押注,购买资产,获得更高的回报。但当这些资产的市值下跌,贷款机构开始要求更多的抵押品,最后这家公司竟然轰然倒塌。很多惊魂未定的贷款机构全面收紧贷款要求,造成整体的信贷紧缩。
单词deprivation 联想记忆:
4、慧眼识香。邦德眼光敏锐,能辨认出孰敌孰友。这种品质常见于性开放者。007很容易识出对他有意的女人,有科学证明,帅哥往往擅长于此。

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

2017年排行榜的前几名几乎清一色都是法国商学院。校区位于里尔和尼斯的北方高等商学院(Edhec Business School)首次登上该榜单榜首。自2011年该榜单编制以来一直排名第一的巴黎高等商学院(HEC Paris)如今降至第二名。
通过ETF购买计划,日本央行间接持有约22家日本大企业10%的股权,并持有整个日本股市的3%左右。一些人批评称,这是对日本股市“事实上的国有化”。
It is also reported that Chinese citizens made 1.26 billion cinema visits in 2015, a roughly 51 percent increase from a year earlier.

?大雪已经降落在西弗吉尼亚州,在韦伯斯特斯普林斯雪的厚度达到17英寸。国家气象局警告说更多的雪还在路上。
5) I’ve Got Your Back: We’ve all made big mistakes. In those times, step in with a reassurance: “I’m not judging you. You’re going to get through this. You’re not alone. We’ll figure this out together. It’s going to be OK.”

河北将创建600个国家森林乡村

欧普照明被诉侵权索赔5000万 招股说明书成索赔证据

Gabriel: Well, there’s just one problem.

Emily: What’s that.

Gabriel: I like you.

最后,在EMBA榜单上,若剔除与非欧洲商学院的合办课程,瑞士洛桑国际管理发展学院(IMD)的毕业生的平均薪资为26.1397万美元,远远领先于排名第二的萨伊德商学院和排名第三的西班牙企业商学院。
On average, executive pay packets hit 7.09 million yuan in 2016, up 8% year-on-year, higher than the rate of China's GDP and per capita disposable incomes, which were 6.7% and 6.3% respectively.
“现在黑客使用流行文化或体育活动中的常见说法来破解网上账户,因为他们知道很多人在使用这些容易记住的词做密码。”

Apple CEO Tim Cook
The number of Web users grew by 42.99 million in 2016, or 6.2 percent from the previous year, accounting for 53.2 percent of China's total population, the report said.
它还体现在萝塞拉·亚尔迪尼(Rossella Jardini)为莫斯奇诺(Moschino)设计的2009年春夏系列的蝴蝶结和宽松裙子上以及以玛丽·匡特(Mary Quant)为灵感的2013年春季系列中。
Erle Spratt, who manages M&G’s Asia property fund, an open-ended investment vehicle, says it is risky to invest directly because assets are not easy to find and price. “It is a very difficult market to buy assets in for investors like us, because developers have very substantial holdings and they tend not to sell,” he says.
库克必须在开放与围绕其产品开发的神秘感间寻找平衡。在苹果内部已经有关于另一个秘密项目的传闻,它规模与iPhone或Apple Watch相当,正在整个库比提诺招兵买马。
菲亚特(Fiat)试图就投资克莱斯勒(Chrysler)条款重新谈判。

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