周洁琼的演技暂且不提，就说好好的一部小说被改的面目全非！不光剧情改的乱七八糟，连女主性格都整反了！原著里女主是一个非常冷静理智的人，话很少，哪有剧里演的这么叽叽喳喳？既然导演和编剧这么不尊重原著，那么为啥还非要叫“大唐女法医”这个名字呢？！你们看不上小说的剧情，麻烦你们自己编一个剧本好不好？！干嘛非要魔改我们那么喜欢的小说？！就是为了纯蹭一个大IP吗？！知道无耻两个字怎么写么！

《小丑回魂》有内容的恐怖片！讲一群孩子怎样战胜内心的恐惧！畸形的家庭环境总会给成长中的孩子留下特定的阴影，片子也正是由此入手，出发点很赞。但在表现家庭阴影与恐怖的关联上还是有些弱，大部分恐怖氛围营造还是停留在“突然袭击”模式，而且对结尾的处理也略显草率！6.5分，还是值得一看的恐怖片！ps:适当增加每个孩子家庭情况剧情，减少那几个小流氓的戏份应该会更好！

比较平淡的爱情故事，导演后面也说了，想要接近真实的生活，可能真实还是要比戏剧化无趣一点。看电影的时候隔壁一直说话讨论，有点烦。男主女主缺少了一点cp感，很少看言承旭的电影，不过男主的角色我还是比较喜欢的。故事的完成度也很高，也没有刻意去煽情，也没有狗血的爱情片剧情，算是一部轻松偏喜剧的爆米花爱情片。

超垃圾的电影，谁看谁后悔超垃圾的电影，谁看谁后悔超垃圾的电影，谁看谁后悔超垃圾的电影，谁看谁后悔超垃圾的电影，谁看谁后悔超垃圾的电影，谁看谁后悔超垃圾的电影，谁看谁后悔超垃圾的电影，谁看谁后悔超垃圾的电影，谁看谁后悔超垃圾的电影，谁看谁后悔超垃圾的电影，谁看谁后悔超垃圾的电影，谁看谁后悔超垃圾的电影，谁看谁后悔超垃圾的电影，谁看谁后悔超垃圾的电影，谁看谁后悔超垃圾的电影，谁看谁后悔超垃圾的电影，谁看谁后悔超垃圾的电影，谁看谁后悔超垃圾的电影，谁看谁后悔超垃圾的电影，谁看谁后悔超垃圾的电影，谁看谁后悔超垃圾的电影，谁看谁后悔超垃圾的电影，谁看谁后悔超垃圾的电影，谁看谁后悔超垃圾的电影，谁看谁后悔超垃圾的电影，谁看谁后悔超垃圾的电影，谁看谁后悔超垃圾的电影，谁看谁后悔

Feel Good is a low budget 6-episode TV show which mysteriously skipped my attention when it was first brought up by a friend: probably because it features no big star (Lisa is one, but in a small role), and British TV shows like Fleabag and Killing Eve have raised the bar very high now.

However, one night, I started to watch the first episode and was very impressed. The not so sub plot of addiction is so well-written. I really like it when Mae (its main character shares the same name with the writer and lead actor, which is a bit confusing) expands the definition of ‘addiction’: ‘it’s all the same feelings, craving, and withdrawl, and relief, and obsession. We are just swapping one addiction for another’. By doing that, Mae Martin (I will use the full name when referring to the creator) connects the love story and Mae’s struggle to stay clean together. Mae Martin challenges the audience to view addiction as not only a struggle among a group of people, but something many of us face when being in a toxic relationship with partners, or, say, social media. By then, I am convinced Feel Good is quite good because the creators know ‘nuances’. Its focus on addiction also reminds me of Killing Eve S2, the key word for its 2nd season is ‘obsession’. While both handle compulsive/toxic feelings between people/people and object, Killing Eve’s take on obsession is disappointing, Feel Good, on the other hand, only gets better episode by episode.

Story aside, I am mesmerized by how the show introduces the love story to the audience. It is fast-paced. As Guardian remarks, ‘Feel Good moves so quickly and lightly that it seems impossible it could also be managing to construct characters and burrow into psyches as deeply and empathically as it does.’ You never need to fast-forward; it’s densely-packed but you won’t feel stressful; the plots mingle effortlessly. It takes 30 seconds for Mae and George to fall in love with each other. I love how unconventional and unapologetic it is. I love how an LGBTQIA (bless Joyce) story focus on how the two lovers enjoy their relationship (at least for the most part) without giving too much attention to how they are unsure if the other is into them, or suffering from loneliness because they can’t find a partner. Of course the loneliness issue exists and there is suffering, but there are many representations of those already. Feel Good shows how the relationship can be the start, rather than the ending, of a story.

I also like how the struggles of Mae and George are more about themselves making choices than them being in disagreement with a suffocating society. It is refreshing to see not only Mae’s parents, but George’s mother, support their sexuality. Mae’s gig pals don’t make a fuss about her having a girlfriend. The roommate Phil is an angel. The lead of the support group is a gay man; Lava is loved by her mother regardless of her sexuality. While Binky’s husband and his friends are ‘piece of shit’, I don’t see them as homophobic (I could be wrong though). The show demonstrates that everyone can and should be nice to LGBT+ community. I like how Feel Good doesn’t use societal approval as a trope; instead, it allows us to see Mae and George as individuals who make their own decisions. Yes, sexuality is and will be important in their lives, but they don’t let it to devour them, they can still breathe.

The relationship is beautifully written and wonderfully performed. I mean THE CHEMISTRY!! Yes there is sex. As Mae Martin said, she didn’t want the lesbian sex to be voyeuristic. I congratulate her in doing a fantastic job!! Feel Good has amazing sex scenes: they are romantic, witty, hilarious, and honest. The director and writers make sure the sex scenes are not about sex/lust only, they are also about female pleasure. Mae and George communicate and share their sexual preferences; they don’t force their fetish on the other, instead, they ask politely. The show doesn’t mystify lesbian sex: even lesbians can’t cum and that’s ok! Feel Good has achieved what Sex Education has done: it has educated people (older than high schoolers) how to have sex, and more importantly, how to discern when the relationship is going south.

There are nudity scenes and they are (quite literally) serving the plot: it is when Mae feels most vulnerable physically. The paradox of the physicality and the personality is, however, not restricted to gay people. Mae is struggling because she believes however hard she tries, she can never have George in the long haul because George is ‘culturally straight’. George, however, insists this idea is just in Mae’s head. (Or is it?) It becomes apparent that the couple is not on the same page on many things. Mae is shy but she wants public validation of their relationship: she wants to be blessed by George’s family and friends. George is popular (win the lottery) but she is ultra private when it comes to Mae. She points out her friends just want to crack a joke and emotions (mind, not sexuality), for them, is gross. Eventually, George will have to face her own real emotions. There is a moment where Mae questions why George never like/retweet her social media stuffs. As Fleabag says ‘Hair is everything’, the (non)usage of social media, I argue, is (almost) everything. This again shows the discrepancy between the couple – which, of course, is normal; in every relationship/friendship, such disagreements happen and that’s what makes this show so relatable.

It is interesting to note that the dynamic between the two flows all the time. I find myself on the side of Mae and then I am on George’s side! For example, the first episode shows Mae concealing her addiction history from George, which is a bit dishonest; but George also makes Mae think she’s already mentioned her to her friends while actually she’s dating some Crenshaw dude. I find it especially interesting that while George is portrayed as a cold person (she leaves Mae alone in a party; she’s rather cold towards Phil etc etc), Mae can also be quite aloof – check what she does to Lava. When she says let’s not share this with Maggie, it is as if George were saying let’s not tell my friends now.

Talking about George and her friends, I really like how the show does about their friendship. It shows that those friendships, even though ‘long haul’, are not necessarily genuine. Indeed, things can be tricky, if not scary, when friends finally choose to be honest with each other, right?

Binky’s husband and friends are hilarious characters, but the show makes sure not all the male characters are caricatured. I like Phil a lot; he’s giving me the neighbor who ended up marrying Hannah’s boyfriend’s sister in Girls, especially when he’s mentioning all the baby stuffs. Mae’s dad is a charming character; but I am not sure if he’s a good dad. His ‘Oh I need to check the garden’ is a specimen of dad type, who leaves all the dirty job of communicating with kids to mums. The show also inserts in a MeToo story plot where things turn sour quickly. In all, the portrayals of male characters are multifaceted. Well done.

Last but not the least: small roles. Does the show even have small roles? Because everyone shines. Even the shop assistant of that sex shop: the scene is so funny and captivating. Lisa Kudrow is funny but in a cold way – which is really nice. I am not crazy about her first appearance in the laptop; seeing her appear in Blackpool is a real surprise for me (and Mae). I love the scene in Ghost Train the most. Arguing in a horror house/moving train, with all the noise and terrifying man-makes while discussing ‘real emotions’, which is the most terrifying of all – what a genius idea!! The fact that the show keeps vague about why Mae is cast out of the family is an interesting one; I quite like how her mother points out her privilege and that she has everything she wants when she grows up. Again, the show is looking at the mysterious and intricate human mind that is not so easily explainable. Apart from that, I don’t think there are a lot of TV shows that discuss ‘privilege’. Kudos to the writers for highlighting this aspect.

The photography is really pretty. It, like TEOTFW, has a consistent tone, which is even reflected when Mae and George are in bed. Note the beautiful blue shadow. The music is nice. The costume looks comfy and lovely (never let the costume steal the show– I’m talking to you, Killing Eve). My favorite, as I said earlier is the pace of narration. Mae has run a lot and it is a signature of Feel Good, like Fleabag’s looking at the camera.

Feel Good is about a female stand-up comedian. In the States, there is The Marvelous Mrs Maisel. Both Mae and Midge suffer from a backfire from they using real-life stories with their partner (judging from S1 finale, haven’t watched S2 yet). It is interesting to think how personal the stand-up mateials can be, but having just watched Hannah Gadsby’s Nanette, I am reminding myself that in order to make things funny, the ‘truth’ can be compromised. While Nanette is almost metafictional when Hannah approaches/disconstructs what makes comedy, I don’t think that is the angle Feel Good is heading towards. However, it is still fit to think about the show amongst the powerful works by Mae Martin’s fellow female comedians. The freshness of the show also reminds me of Girls (with its minute depictions of modern female life) and Fleabag (with its candidacy about real emotions). Feel Good deserves more recognition and PLEASE CAN WE HAVE SEASON 2 THANK YOU NETFLIX!!

故事仍然打动了大众，因为主人公的社会地位，生活环境和普通影迷是接近的。蝇营狗苟的生活中，爱情被挤压到何处去了？巴克斯特找寻不到，芙兰遇到的都成了伤心往事，他成了欲望的奴隶，放弃了男人的尊严，生活混乱不堪；她越爱越伤，最后依然是欺骗，还不得不妥协。

《桃色公寓》通过一个小职员的眼睛,深刻揭示了当时美国社会中的种种弊端,表现了小人物的喜怒哀乐。影片中的主人公巴德是一家保险公司的小职员。是个想在竞争的社会里出人头地的青年。他工作勤恳，过着独身生活，连个女朋友都没有，在公寓租了一套房间，但经常不回去。而是在公司休息室里一边吃速溶食物，一边独自看电视。巴克斯特的几个上司虽然都有妻室，还常常跟别的女人幽会，为了巴结上司，他经常将自己公寓的钥匙借给上司，让他们在那里和女人们幽会，自己则在公司休息室里暂避，有时甚至不得不睡在公园的长椅上。这天，有人通知巴德，说人事处请他立即去一趟，有要事相告。巴德兴冲冲地走出办公室。乘电梯时，他忍不住告诉法兰，自己这次被排在公司评定工作效率的第 10名，也许能晋升。法兰将别在自己胸前的玫瑰花取下别在巴德身上，祝他走运。出乎巴德意料之外的是，新来的人事处主任普尔赖克也是为了向他借公寓钥匙。更让他震惊的是，和普尔赖克约会的竟是他暗恋的法兰。这一打击，使巴德痛苦万分，便借酒浇愁。一天，他喝醉酒回到了家里，发现法兰被普尔赖克撇下不管，躺在床上昏迷不醒。原来，普尔赖克同法兰打得火热时曾经说过自己将与妻子离婚而娶她，可这是欺骗。法兰绝望中服了大量安眠药。巴德赶紧请医生来抢救。法兰终于转危为安。医生临走时说：“作为你的邻居，我得劝你一句。一个人活着，就应该象个人样，做个有出息的人，懂吗？”医生的话使巴德极为震动。他看穿了上司的卑鄙，对提薪升级再也不感兴趣了。当普尔赖克再次向他借公寓钥匙时，巴德毫不犹豫地将辞职书扔到了他面前。法兰了解到巴德对自己的一片真心，赶到公寓，只见他把香槟的瓶塞打开，以示庆贺……

我们现在了解红军长征历史，除了当时的影像资料还有很多来源于访谈，比如亲历过的红军老战士、当年帮助红军的乡亲们的后人等等。《勇敢者的征程》角度不太一样，很少从这方面的切入。

开篇探访的藏族姑娘马花，红军坪挤奶的大姐大娘，渡河时在村口等待的贺昌达大哥，达维寺里载歌载舞的藏族老乡，路上遇到的每一位都不是承担讲述故事职责。

他们更像是一个个NPC，来帮助钟汉良和乔西复刻那段征程，再现八十五年前先辈启程后遇到的每一个情境。

长征是一段艰难的征程，因为有信仰、勇气、坚持和民心所向，我们取得了最终胜利。始知什么是信仰的力量，什么是不屈的意志，什么是一个民族、一个国家、一支军队的英雄主义。人类历史上所有的不败，皆源于此