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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 官方解读来了 石家庄“零门槛”落户这样办理. 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.

白人焦虑推动了今年的西方政治动荡:英国令人震惊地投票决定退出欧盟,美国的唐纳德?J?特朗普(Donald J. Trump)出人意料地获得了共和党的总统提名,挪威、匈牙利、奥地利和希腊的右翼民族主义崛起。
戈尔迪·霍恩(Goldie Hawn)曾因影片《仙人掌花》(Cactus Flower)获最佳女配角奖,她的奖杯坐落在一个非常富有禅宗气息的地方——她的“印度房间”,她常在这里冥想。她的小金人并不是唯一一个和主人有共鸣的奖杯,罗素-克洛(Russell Crowe)曾在影片《角斗士》(Gladiator)中身着罗马战士裙装,扮演了一个威猛、极具感情和个性的古罗马战士--司令官马克西姆斯,他的奖杯放在鸡舍中,因为克洛相信小金人能够保佑母鸡下出更大的鸡蛋。
如果我们问你“你想要多少月薪?”你应该说随便,或是根据工作责任而定。除非我们逼你,别自己说出一个具体的数。因为那只会让我们在商量上面占上风。
To make sure the plan goes through, the central government must reinforce the plan to co-ordinate basic pension, enhance enterprise annuity and manage personal accounts properly, Yang said.
在苏富比的拍卖会上,有少数几幅作品的拍卖价格远高于预估价,比如德比的约瑟夫·赖特(Joseph Wright of Derby)1780年的一幅风景画,它描绘的是奥古斯都大帝的女儿朱莉叶(Julia)被流放到萨莱诺湾(Gulf of Salerno)的一个洞穴里。
Data released by the UK National Health Service last year on patient admissions revealed an alarming rise in various nutritional and communicable diseases in the past decade.
但是,只要快速扫一眼日益变化的天际线,我们就能发现一个令人沮丧的现实:那些光鲜亮丽的新大厦,未能提供大部分纽约人买得起的房型。“我们正在修建的房屋,跟我们需要修建的房屋之间存在着脱节,”房地产估值公司米勒·塞缪尔(Miller Samuel)的总裁乔纳森·J·米勒表示,“2015年,这一现象会更加明显。”
The research comes at a time of increasing anti-China rhetoric in US politics, and ahead of three politically sensitive anti-dumping cases this summer against Chinese steel imports that could result in the US imposing punitive duties of as much as 500 per cent.
克里斯·保罗
事实上,贷款给Seppenwolde的那些机构一个荷兰盾都没损失。他们在几周内就清空了全部的东印度股票,收回了所有贷款。
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12. Is there something I am clinging to? We don’t always realize when we’re clinging to something harmful when it feels safe and familiar, whether it is an unfulfilling job, an unhealthy relationship, or a stagnant way of life. Recognize if you are clinging to something that isn’t serving you and work on taking small steps towards change and release.

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

《财富》美国500强公司苹果(Apple))已宣布,将从现金中拿出300亿美元用于股票回购。这个消息让投资者很高兴:股价暴涨,甚至在消息发布一周后,这只股票相对于标准普尔指数在这7天上涨了12%。苹果有一项规模更大、总额高达1300亿美元的资本回报计划,将一直延续到2015年,而这些回购就是这项计划的一部分。
美国各地许多餐馆和商店星期三向美国退伍军人提供免费服务或优惠,以纪念一年一度的退伍军人节。
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Technology is hardly a brand new phenomenon in the legal world — many firms now have partnerships with AI and machine-learning businesses, while some have set up their own “incubators” or invested in lawtech start-ups. But the trend has reached critical mass and will accelerate sharply in 2018.
否则,就应该交易考辛斯还有在过去的两个赛季里签下的其他的老将了。
Apple (AAPL, Fortune 500) announced that it would put $30 billion of its cash toward share repurchases. The news made investors happy: The stock popped, and even a week later was up 12% relative to the S&P over that same 7-day period. The buybacks were part of a larger $130 billion capital return program that the company said would extend through 2015.
The Glory of Tang Dynasty

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:

今年,竞争最激烈的职位--中国民主同盟中央委员会接待处--有大约10000人参与竞争。
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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

凯特·温丝莱特凭借她在电影《乔布斯》中扮演的乔安娜·霍夫曼一角斩获金球奖最佳女配角奖项。当她听到自己获奖时,她目瞪口呆地坐在椅子上不敢相信。
【编辑语】应聘时必须面对HR,工作期间可能需要HR,离职时还是离不开HR。HR是公司中最深谙职场秘密的部门。以下的18条评论是来自于美国各知名公司的HR或是专业人力资源机构的讲师,其中包括知名作家,前人力资源经理Cynthia Shapiro(《企业机密:50条公司不会告诉你的秘密》一书的作者)。我们一起来了解下吧。
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当你和他/她打电话打到很晚,他/她挂了电话,你仍然想念他/她,即使电话只挂了2分钟

家居建材行业真的利润大吗? 家居行业的钱到底赚到了哪里

楼市调整牵动下游 专家:四季度经济冲击或更强

Gabriel: Well, there’s just one problem.

Emily: What’s that.

Gabriel: I like you.

adj. 精美的,微妙的,美
双语:明星纹身爱用拉丁语 粉丝追捧学语言
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2018年,中国电影票房收入增长9%,达到89亿美元(约合609.8亿人民币)。
Beijing is looking to unload excess reserves built up under the government’s subsidy policy.
“The employee said she was going out to buy boots, but was never seen again.”
美国大学与雇主协会(National Association of Colleges and Employers)进行的一项新研究表明,48%的美国公司计划于2011年招募物流专业研究生。供应链管理人才稀缺的现象,恰恰印证了这一调研结果。
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又或者,今年是一群有跟虐待、性或其他有关的故事要讲的女性。她们其中几个人在我们的页面上分享了“我也是”(#MeToo)的经历。卡洛塔·加尔(Carlotta Gall)讲述了汉达·阿亚里(Henda Ayari)的故事。后者是一名拥有北非血统的法国公民,也是一名反萨拉菲派活动人士。她指控牛津大学某知名教授强奸了她。

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