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✉️ https://t.co/I4O8mlTIfzhttps://t.co/OGnB3mMG8CRT IIEA @iiea: 7 years on from the #Brexit vote we're continuing to analyse the impact of the UK's withdrawal from the #EU.
Join… https://t.co/cYlxTquavgThe EU is taking charge in regulating data and the digital economy, launching new regulations like the #DMA, #DSA,… https://t.co/jfOuY6kaPNLet's talk about #AI regulations in the #EU!
It is important to understand and enhance the benefits, but also min… https://t.co/OU6PEWlg6j🎧 New global economy podcast episode!
We talk about the US trade policy and America's role in the world economic o… https://t.co/DHHvBdKZ4M
When the Netflix series Emily in Paris was released in October 2020, it was widely watched among audiences around the world. In its first week, it was listed as one of the top ten most watched shows, and almost 58 million people globally streamed this series in the first month after its release (Netflix, 2021). The story features a girl who moves from Chicago to Paris for work, and provides an American’s point of view on French lifestyle and includes many typical examples of culture clash. With such a set up, it naturally drew criticism about how it resorted to stereotypes about French culture. However, beyond these clichés, there was little focus in the media on what this series says about the current state of Europe’s audiovisual sector.