HTTP/1.1 200 OK Cache-Control: no-cache, private Content-Type: text/html; charset=UTF-8 Date: Wed, 25 Nov 2020 08:52:37 GMT 呃呃呃啊啊啊我不行了视频
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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 《武汉市物业管理条例》表决通过 擅自涨物业费最高将罚款3万元. 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.

故事发生在《海底总动员》第一部结束的一年后,多莉展开了一场全新的海底冒险:寻找自己的父母。在这部史诗巨制中,多莉沿加利福尼亚海岸的冒险之旅,得到了尼莫和马林的鼎力相助。 故事中也将迎来一批全新的角色。
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He did several makeup tests to get the look that would so dramatically change Mr. Carell. “We were literally creating a new human being,” Mr. Corso said.
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欧洲管理学院协会(Cems)管理硕士项目——由30家商学院联合提供的国际项目——排名第九,比2015年下滑五名。该项目上一次上榜是在2015年。
Actively expanding China's opening up to the world

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

"电梯外面很多人,有我的老师,别的家长们,他们看起来都非常焦急,"孙轶潇在获救后表示。
The Globes are unique in celebrating both film and television. Perhaps more than ever before, those lines were blurred Sunday, capping a year in which TV was much celebrated as the more dynamic storytelling medium. The beloved and now concluded 'Breaking Bad' earned some of the night's loudest cheers for its first Globe wins: best drama TV series and best actor in a drama for Bryan Cranston.
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We will continue to work to see that government functions are fully carried out in accordance with law.
“The impact of lower prices on the slide in profits is worsening,” he said.
The number of initial public offerings (IPO) and the amount of funds raised in the Chinese mainland's A-share market fell sharply year-on-year during the first half of 2016, according to statistics released by PwC last Monday.
上个月,中国贸易顺差增至4962亿元人民币,高于去年12月的3821亿元人民币。经济学家曾预计该数据将略高于3890亿元人民币。以美元计,该月中国贸易顺差从去年12月的600.9亿美元增至632.9亿美元,也超过了606亿美元的预期。

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:

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May the joy of New Year be with you throughout the year.

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

一只五人帅哥音乐剧组合Callabro赢得了大众的青睐,赢得了最高选票,成功卫冕。与此同时,他们还获得了250,000英镑的现金奖励,还获得一次在皇家面前表演的机会。
8月24日
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美国公司高管的薪酬不断上升,收入差距越拉越大。在这种情况下,看到一位不光关心自身收入的CEO不禁让人眼前一亮。9月份,联想首席执行官杨元庆宣布,他将连续第二年和大约1万名联想员工分享他的奖金,数额至少为300万美元。他做出这个慷慨决定的原因是这家个人电脑制造商的年度销售额创下了历史新高。据彭博新闻(Bloomberg News)报道,参与“分成”的联想员工获得的奖金大约相当于中国普通城镇就业者一个月的收入。

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Gabriel: Well, there’s just one problem.

Emily: What’s that.

Gabriel: I like you.

4、《美国队长3:内战》
There were multiple instances of the glamourous royalty keeping Canadians waiting, including the arrival, where the family took a whole 20 minutes to disembark in order to be greeted by the Canadian welcome party.
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On January the U.S. government levied a $70 million fine on Honda for failing to disclose, as required, more than 1,700 deaths and injuries in its vehicles to the National Highway Traffic Administration (NHTSA).
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Stranger Things 2
当很多千禧一代很难找到工作或在低技能岗位上将就时,凭着项目本身与公司合作伙伴的联系以及校友网络,这些管理学硕士项目的毕业生获得了很高的就业率。

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