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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 顺德制定材料价格指数 争夺家具业话语权. 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.

The rest of them, he goes over quickly:
近日,英国《金融时报》披露了中国北方很多地区例行公布的关于国内生产总值(GDP)的虚假数据。在那些地区,可靠的替代证据表明,地方政府“抹平”了经济增长数字。他们人为地推高了2012年至2016年期间的增长数字,掩盖了真实的低迷期,去年又掩盖了真正的复苏。
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所以我不知道2014会发生什么——谁也不知道。但在我的想象中,它会是这样的:
Teach First自成立以来将5000名毕业生送入学校任教,与低收入地区的逾100万学生合作,帮助提高了教学质量,尤其是伦敦地区的教学质量。
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Four other domestic movies made it to the top ten list, among them are the third winner Never Say Die, Kung Fu Yoga in the fourth place, the fifth winner Journey to the West: The Demons Strike Back, and Youth in the eighth place.
What deserves to be mentioned the most is, Uber and Tesla Motors Inc did not make it to the list. "Both Uber and Tesla do innovate, but not at a sufficient level to feature in the Top 100 list of innovative organizations around the globe as measured by patent metrics of volume, success, globalization and impact. They neither have sufficiently large portfolios to qualify for inclusion with less than 100 granted inventions during 2010-2014," Stembridge said.
美国总统vs韩美自由贸易协定
?Bond has it all and that's exactly what the most beautiful women demand in the men they date. Women who really enjoy sex prefer "bad boys" -- and there's no doubt 007 qualifies. Feminine women prefer masculine men. And for one night stands women look for physical attractiveness and dominance -- which Bond has in spades.
在实验中,参与者们被要求回忆一些他们在实验开始的时候看到的图片,其中,一半参与者在回忆之前进行了举重训练,另一半参与者没有进行这样的高强度活动。他们发现,参与了举重训练的人在记忆能力上有所提高。这项研究实现了运动研究上的独辟蹊径,其他研究的研究对象多是对有氧运动本身,研究时间跨度长达数,但是这项研究的研究对象却是人类记忆,在研究时也仅仅是要求参与者们花一点时间举重而已。研究人员证明了其实提升记忆力并不需要数个小时的锻炼。下次再有谁让你去举重或者去健身馆锻炼的话,你大概会想感谢他一番的吧?
Snapchat on Tuesday launched Discover, a section of its app where media outlets including Vice, CNN andPeople magazine can publish video content within Snapchat. Already several of the channels feature ads, which aren’t cheap. According to Adweek, Snapchat ads cost $750,000 per day.

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

至于维护全球贸易的自由化,这需要世界各国共同努力,因为天下是天下人的天下。
当地媒体上周三报道,中国西南部重庆市的一名学生因嫌同学上课吵闹而试图下毒,被判有期徒刑一年。
The leadership changes across the industry will be of particular interest to female consulting professionals, given none of these firms have ever been run by a woman. Consulting firms are vocal proponents of the business case for improved gender diversity at the top of large companies. It will be interesting to see if any of them decide to practice what they preach.
中国富人近年来对岛屿表现出越来越浓厚的兴趣。
May happiness follow you wherever you go!愿您幸福快乐,直到永远永远。
1.Bladeless Fans
日前,一名14岁的中国少年,在一个晚上的时间内克服了人类史上的两大恐惧:被困电梯和完成家庭作业。而这多亏了他机智的性格。

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:

X-Men: Apocalypse is said to hit theatres on May 27, 2016.
电视剧版《三生三世十里桃花》于1月30日首播,由人气女演员杨幂和迪丽热巴主演。该剧讲述了一个小仙女和一位神仙的三世情缘。
只跟那些能凸显你聪明的人做朋友,哪怕他们觉得你坏坏哒。

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

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Gabriel: Well, there’s just one problem.

Emily: What’s that.

Gabriel: I like you.

Swyft now makes half of its money from ad campaigns like the one for Gwen Stefani. Swyft’s revenue has increased between 50% and 100% each month, Wray says. The other half comes from selling stickers—typically licensed from sports teams and entertainment brands like Shrek.
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今年选股遇到困难,部分原因在于市场顶部高度集中。苹果、伯克希尔o哈撒韦、强生、微软和英特尔这五只股票占去了市场涨幅的20%。如果你未持有上述股票,几乎就没有机会分享这场增长盛宴,而正是这几家公司的增长推高了标普500指数。市场上大部分股票的表现要逊色得多。研究公司路佛集团称,标普1500综合指数成分股中,仅有30%的个股跑赢了该指数。上次出现这样的景象,那还是1999年的事。

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时间:2010-02-24 编辑:vicki
“Policymakers around the world are cognisant of the impact the Fed decision will have and are worried, which makes us worried,” said Simon Lue-Fong, head of global emerging debt at Pictet Asset Management. “People are saying the decision is priced in but seeing as no one knows exactly what will happen how can that possibly be true.”
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On Monday the research team said the skeleton confirmed that the monarch had severe scoliosis, or twisting of the spine. It may have been painful and caused his right shoulder to appear higher than his left, but there was no evidence of the withered arm depicted in Shakespeare's "Richard III".

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