政治题材的纪录片怎能这么拍？又不是宣传片。怎能上来就亮立场？

总要理性、中立、客观才好，哪怕前面装一下、后面呲獠牙。哪能明说自己站左翼，还从自己爹妈进步青年的历史找渊源。你后面通篇给左翼开解，不怕观众不信吗？

可《民主的边缘》就是有说服力。就算前面被“旗帜鲜明”打了防疫针，就算一直提醒自己别被带进沟，最后，还是被说服了大半。

以卢拉为例。看《民主的边缘》前，对他什么印象呢？工人出身、左翼领袖、巴西前总统。上台前喊着要为劳苦大众争权益，上台后国家蒸蒸日上、百姓日子越过越有希望。他言行一致，口碑甚好，是当代国际政坛难得的光环人物。可惜，好人设似乎注定崩塌，没几年，他竟因当总统时受贿锒铛入狱。真是屠龙少年蜕变恶龙的典型。

看过《民主的边缘》，“可惜”之后的内容原来没那么简单。说卢拉收了一套房，没有直接证据。一无合同，二无收据，人卢拉也没搬进去住。当然，坏政客都狡猾，现房可以变“期房”。还有一点更关键，办卢拉案的莫罗，又当检察官又当法官。不是县太爷断案的年代啦，莫罗这么搞，怎么证明自己清似水、明如镜、动机纯良？

再说片中另一主角罗塞夫。以前觉得这个人，笨且脸皮厚。把自己的支持率搞到个位数还不请辞，非等议会弹她下台。原来，也没这么简单。她的问题是刚，老游击队员嘛。她只管做对的事，不管别人受不受得了，也不管有人背后下刀。应对经济危机，她削减支出，影响了底层福利，瓦解了自己的民意基础。议长本来站她，但有贪腐嫌疑，她眼里不揉沙子，结果议长反戈一击，力推弹劾总统。至于对她的弹劾，基本是场党同伐异的丑剧。

说服观众，要拿事实。导演佩特拉·科斯塔有七分证据说八分话，怎会没说服力。当掌握足够的事实，又能合情合理解释给观众，亮出立场不是坏主意，反显出坦诚。试想，是前路或有坑，小心前行好呢？还是一无提示，傻傻向前好呢？

佩特拉·科斯塔亮出立场，还有个人原因。她太爱左翼，深为自家左翼传统骄傲。而且，将家的微观叙事嵌入国的宏大叙事，也挺人文。

《民主的边缘》，没有理中客，是用事实说话的个体表达。它不满巴西社会的撕裂、极化，却也是撕裂的产物。

撕裂和极化，当下的社会流行病。

我其实对于韩国的电视剧忍耐度还是很高的，虽然经常有着表面上贴近现实，但却很悬浮的剧情，毕竟画面和配乐制作向来都很精美，爱美之心人皆有之，所以尽管不接地气，我还是挺喜欢的。

但是这部剧，有一点触碰到我的底线了。

我最开始就是被这部剧聚焦精神病群体所吸引，尤其是女主角，据说还是一个反社会人格的精神病人，我抱着很大的期待打开了这部剧，以为导演会给精神病人以独特的视角来刻画她们的爱情，然后就没有然后了。。。

第一集女主的出场我就地铁老爷爷看手机，原来吓哭小朋友就是反社会人格，涂一个黑色指甲油就是暗黑系了，我要被导演气笑了，真正的反社会人格看了不得笑出声来，美国有好几起变态杀人案就是反社会人格的精神病人造的，导演可以去看看真的反社会是什么样子，不要误导小朋友哦(′-ω-`)

这部剧肤浅到了让我脚趾抓地的程度，导演并不打算挖掘精神病人的痛苦和人性，只想利用反社会给女主打造一个人设而已，没想到现在戏里戏外都兴起打造人设了，女主既不是个正常人，因为她自私自利，从不考虑工作同事的感受，需要随时有人跟在后面善后，也不是个精神病，因为她是个只会救人的“反社会人格”，这就很尴尬了，一但观众出戏，女主角就成了一朵盛开的绿茶，她的精神病属性只是导演用来洗白的工具。

最后再说说其它角色，除了男主的哥哥这个角色塑造出了真的精神病人的状态，他和弟弟的亲情线还算不错以外，其他角色，全部都是工具人。都是为了偶像剧中男女主的爱情服务的，因为她们的人设很表面，只是脸谱而已，尤其是女二的人设，在加上尴尬的演技，简直。。。还有最开始那个想要害死自己女儿的精神病人，直接被塑造成了反派， 来衬托女主的人设，我实在是无语至极。

导演不仅仅没有挖掘出男女主身上的深度，把一个好好的题材，直接搞成了公主加王子，再加几个反派以及助攻工具人的套路剧，还把本来很沉重的精神病主题，过分娱乐化了。这是很不好的，大众本来对于这个群体就知之甚少，导演这样会有很多未成年觉得，反社会好酷诶，精神病好好看，精神病院环境很美嘛。。。

护工和精神病人的爱情，本来是一个很动人的主题，可以拍出来的纠结，痛苦很多很多，但是导演却交上了一份我个人认为不及格的答卷。最后还是希望大家能够去了解一下精神病群体，但绝对不是通过这一部电视剧，因为真正的反社会人格，是像女主第一集就推倒在地的那个中年男人一样，既不帅也不美，更不是什么名人作家，只是一个内心纠结痛苦，走不出心灵牢笼的普通人。

已经挺好的了，就是虽然挺喜欢丝丝的，但还是觉得丝丝短发最好看，长发也好看，但是不是那么有透明感了。

而且可能因为太喜欢千早了，所以在我心中没有人在三次元中能把她演出来吧，她的好看是带点冷淡和锋芒的，不是只有傻乎乎的好说话的笨蛋美人的那种样子。

是那种因为有特别在乎特别喜欢的东西了，所以其他的和我有什么关系的冷淡，是那种只注视着一样东西的专注，锋利的似乎能划出血的东西。她的灵魂是有名为“野心”的烈火在燃烧的啊。

花牌我是一直把它当作女主视角的少年热血漫来看待的。

而这些特别内在的力量，我没有在丝丝饰演的这版中看到。

还有因为选角的问题，我第一次开始特别讨厌太一，或者说其实我一直有积冤吧，只是自己都没注意到，被爱意掩盖住了吧。

总体来说，很值得一看。

oh my gosh，我妈心心念念给我很多提示，愣是没想到是这部剧…

我妈在看大江大河的时候，，，指着杨烁跟我说 之前看他演的一个剧没看完 特别想看

于是我搜杨烁，看各种片段 最终还是我小外甥给找到了这部剧

于是开通了优惠VIP 我妈津津有味的看这部剧ing

杨烁真的是需要去油的一个人啊！

《大唐狄仁杰之东瀛邪术》讲述了东瀛妖姬森下舞携毒血武士踏上中原土地，他们暗中勾结当朝太监胡公公，施展邪术，荼毒百姓，意图谋取大唐社稷。就在江山社稷面临危机之时，初涉江湖的青年狄仁杰力挽狂澜，跟踪追击胡公公与妖姬森下舞。几经生死考验，最终保卫了大唐的如画江山《大唐狄仁杰之东瀛邪术》讲述了东瀛妖姬森下舞携毒血武士踏上中原土地，他们暗中勾结当朝太监胡公公，施展邪术，荼毒百姓，意图谋取大唐社稷。就在江山社稷面临危机之时，初涉江湖的青年狄仁杰力挽狂澜，跟踪追击胡公公与妖姬森下舞。几经生死考验，最终保卫了大唐的如画江山

每每在短视频上刷到武侠电视剧的解说，我都禁不住多看一会，“哪一版本的东方不败最好？”“李莫愁是不是大侠的试金石？”以前的武侠故事常看常新，但也很遗憾，至少有十年吧，武侠题材电视剧没有产生“爆款”。能够引发热议的往往都是翻拍自金庸的剧集对比，而结论更反复证实并凸显出旧版本故事的可贵。这自然有先入为主的因素在，可以说金庸定义了武侠，甚至定义了“武侠剧”。要说制作“新武侠剧”，老爷子的故事宝库还有很多值得挖掘的内容。那若脱离了金庸的故事背书，武侠剧还会有什么样的新可能？

【详细】

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全程是激动的、感慨的、奋勇的、泪目的！祖国脱贫攻坚战铸造了一批新时代的战士！驻村大学生**为了脱贫任务，放弃了自己的出国读博机会；女性**的坚韧和拼搏，带病坚守在岗位，父亲临终不在身旁；乡副**拼搏在扶贫一线，自己掏腰包垫付村亏损项目，离婚、儿子的不解到理解，太多的感人故事了！“为人民服务”不是一句空话，背后有多少伟大的付出才能成就今天！可能枯燥的故事，却被镜头下刻画的感人生动！大赞！太容易被忽略的一部大作！满分！这部农村扶贫类的故事片非常感人，我极力推荐大家都去影院现场观看！

转自看完发的微博

我是很不喜欢也不太会去看这种片子的，还有最近在看的《不完美的她》，一方面因为会有点害怕，一方面是太深刻看完会头疼…果然看完头疼了[允悲]

一共四个故事，感觉最后一个和第一个最贴合剧的名字。第一个遥控器的故事，会让我想起我和我妈对抗的岁月，她对我也是那么严厉，甚至想让她看一看问问她如果当时她有遥控器会不会用…现在长大了依然逃不出用我妈的思维来衡量自己的行为，会想这样做我妈觉得对不对？我妈会不会伤心？可能我永远也做不到让她满意。但是她现在也开始接受，父母要承认你的孩子只是一个普通人的事实。

整部剧中，父亲的角色都是缺失的，都在讲母亲对孩子的教育。其实一个家庭中，爸爸爱妈妈，孩子才会懂得爱。看的时候一度觉得很悲观，沉浸在里面无法自拔。

从22岁到24岁，虽然只有短短两年，但身边的朋友都开始陆续结婚。想让自己坚持住，如果没有想好，就不要结婚，结婚了也不要生小孩。一个人的时候面对的都是无形的压力，一旦结婚生了孩子，这些无形的压力都会变成有形的，无法逃脱。

《春风十里不如你》虽然改编自冯唐的《北京北京》，但是却少了些《北京北京》当中澎湃激涌的荷尔蒙冲动，更加活泼灵动，多了一抹后青春期的亮色。秋水的人物还原度比较高，一个带着点痞气的文艺男青年，总是更容易得到女生们的青睐，但是小红却从《北京北京》中“一尺七细腰，36D大胸”的女神变成了《春风十里不如你》中的“平板儿”女神经。《北京北京》延续了典型的冯唐模式——性与爱、情与欲交织融合，主人公在激烈的性爱与不间断的独白中体会死亡与存在的意义，希望在欲望之中破土，绝望也在欲望之中蔓延，当“一夜七次”的青春散场，生存的意义也就在死亡一样的静寂里重重的摔在了地面上。

《春风十里不如你》的剧情相对简单，秋水作为一位还在成长中的文艺男青年，并不知道自己想要什么，于是在小红和赵英男之间游移，逃避又逃脱不了，面对又无法面对，就像男人手中同时拿着的红玫瑰与白玫瑰，秋水认为赵英男理智、成熟，没有任何毛病，靠近了看又很单纯，就像一张白纸等着爱她的人去填写，更何况赵英男的父亲是部队的首长，赵英男一次次动用自己的特权帮助秋水，替他解围，于情于理这都应该是他喜欢的人。小红呢？她整天嘻嘻哈哈，没心没肺，无所顾忌，活得洒脱不羁，这是他心里喜欢的模样。他不知道如何选择，心智也没有成熟到支持他做出选择。我认为，剧组对这部剧的制作还是很用心的，很多地方看似无意，实际上却很有深意。令我印象十分深刻的一幕就是马尔克斯的《霍乱时期的爱情》在剧中反复出现，给了很多特写，包括秋水与小红的“帽沿杀”，在这一幕里，秋水面对小红的主动，慌乱逃走时将随身带着的《霍乱时期的爱情》塞到了小红的手里，如果说前面都只是无意添加的细节，那么这一幕绝对就是有意为之了。为什么是《霍乱时期的爱情》不是《平凡的世界》呢？因为只有这本书最贴合秋水的心理状态，也只有这本书符合秋水、小红和赵英男三个人在剧中的人生轨迹。

《霍乱时期的爱情》讲述了女主角费尔米纳与两个男人阿里萨和乌尔比诺医生三个人之间的故事，阿里萨是费尔米纳初恋式的人物，两个人对爱情的向往与渴望展开在纸笔之间，在灵魂上高度契合，但是费尔米纳却嫁给了乌尔比诺医生，两个人一起生活了几十年。在乌尔比诺医生意外死亡之后，阿里萨再度向费尔米纳表露心迹，然而却唐突到了费尔米纳。直到两人再次相遇，在一次船上的旅行中，两人重新检视自己的内心，终坠爱河，说出了“一生一世”。也就是说《霍乱时期的爱情》讲述了一段长达半个多世界的爱情故事，还是个三角恋，在对这种世俗爱情的刻绘里，是马尔克斯对于生存、自由与死亡的思考。

那么世俗爱情都有哪些形态？是充满着激情与冲动的爱慕，一眼万年的绝望与坚守；是把家世背景与一切现实条件融合在一起进行考量，从而结成的细水长流历久弥坚。所以说到这里，你有没有看出来《霍乱时期的爱情》与《春风十里不如你》之间隐秘的联系？没错，秋水就好像费尔米纳，小红就是阿里萨，而赵英男就是乌尔比诺医生，秋水的确与自己认为应该在一起的对象赵英男在一起了，但是，赵英男对待生活的态度与秋水的不同，如果赵英男能够试着去理解秋水的内心，在两个人发展成恋人之后，不断学习，跟上秋水的心和头脑，他们两个人应该是断然不会分手的，然而赵英男并没有，相反，小红作为那个始终支持秋水，始终懂得秋水，脑子里充满了自由与浪漫的人，她永远是在心理上最接近秋水的人，所以跌跌撞撞前半生的秋水，终于知道只有小红才是最适合他的人，最后两个人才能走到一起。

不公平的是，大多数同龄的女孩子总是比同龄的男孩子成熟得更早，更早知道自己想要什么，但是同龄的男孩子却总要在兜兜转转之后，明白自己曾经最应该珍惜的是什么。小红与赵英男都知道，但是秋水不知道。有的人回头的时候还来得及，但有的人错过了就是错过了。如果秋水能够懂得这些，他就会想到，当初那个在广播室里唱《一个容易受伤的女人》、听他弹吉他的那个姑娘才是最懂他的，而在赵英男眼里，对他的一时崇拜不能当饭吃，自然不会理解他的理想与坚持。

如果我送你一本《霍乱时期的爱情》，那就一定说明我爱你，也许你还不知道你想要什么，但是我知道我想要的就是你。如果我们终生不再相遇，那也没有关系，赋予爱情以意义的是生命，我只要你的一生都温暖丰盈。

虽然艰难，但是独立奋斗的女性，很可爱…这部剧自己是首先看完的第二季然后回过头来补得第一季，所以第一季的故事反倒比第二季记忆更加新鲜…六集故事，每集穿插的小案件之外主要是女主父亲被杀的案件贯穿整季，毕竟是因为女主父亲过世，她不得不出来支撑家庭也是这个原因她可以继承父亲的侦探所开始自己的一番事业…女主父亲生前是退休警探然后转行做的私家侦探，而现在的探长公爵是女主的青梅竹马，所以女主从小耳濡目染父亲的行事风格以及自己的兴趣促使其不需要太多犹豫就想要继续父亲的道路，虽然无论是父亲在世时候，还是公爵探长现下的态度，甚至是自己家中看着她长大的女佣，对于女主的选择都并不乐观也并不是很支持…甚至很多人觉得她就是闹着玩儿…总的来说，第一季故事脉络清晰(此时此刻窗外有一只怀孕的猫在闲庭信步)女主虽然坚定却又不固执，懂得什么时候服软并不是一味的标榜自己是独立女性，也不是一味的喊口号却又一窍不通，恰恰相反，女主的独立是建立在对于自己深刻的认识之上的，自己很好奇她这样的性格是如何形成的，但是当下来看，这样的女性独立女性觉醒才真的让人容易接受也让人佩服，而她身边的人呢，无论是自己的青梅竹马，还是其房东投资者，还是自己家看着自己长大的女佣，甚至是停尸房的法医，虽然对于女主的行为并不是完全赞成，却也不是一口否决，相反的都是一种"我不赞成你的想法但是我不会阻止(绝对阻止)你的行为"，这样的态度已经是弥足珍贵的了呢，个人评分8.1分，推荐指数四星半。

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!!

拍摄剪辑弄的跟ppt似的，故事的连续性太差了吧，转场生硬，道具假的不行，看的太阳穴一跳一跳的，故事发展全靠主角的自白，剧情更是离离原上谱，大小bug一堆（有些地方真是莫名其妙，直接给我整笑了），白瞎男女主角（很久没看到缺点如此明显的电视剧了）我再往后看看值不值得改分。再补一句bgm用的真的很不合时宜，比如那段男主帮女主引开追兵，在树后面看女主，那段音乐放的非常的深情，不知道的还以为要生离死别了。????????

第五、六集，剧情依旧稀烂，感觉没有一条主线可以讲的清，咱就说一集就三十多分钟，要取其精华去其糟粕，现在就是又看完了两集，但是还是云里雾里的。（突然发现演苏桓和那个摄政王的是之前演过陈情令的金凌和金光瑶，我说有点眼熟呢。）说到底还是班子不行啊，诶。看片头还以为是一部质量还不错的小甜剧，看完剧真是哪哪都失望??。先练好技术好吧，现在给我一种我要是学几年我也能上的错觉，哈哈哈。我再看看哈

一个越战中拯救许多美军的空军军医，战后却没能获得最高荣誉的勋章佳奖，当时接受他救援的士兵们起而争取，向五角大厦提出申诉希望追勋最高奖章，一个正要面对职场升职的政府官僚，接到这个被打压多次事隔40年后的旧案，从原本的轻视到深入访谈调查中，发现这群越战老兵的执着与荣誉的重要，影片的结构就是访谈与越战场景交错，以结构组成性来说更偏向仿纪录片形式，所以实际上剧情的推进的层面并不多，比较是单方面的去累积观众对事件感触，为了增添戏剧性由多位资深演员饰演，让每场访谈与战争现场交错去强化情绪，所以影片前30分钟显得沉闷抓不到重点，到中后段累积起对该名空军医官的同感，才会产生与那些被救援过老兵相同感怀，其实影片前段叙述的高层压力毫无爆点，纪录片式手法是比较跳脱剧情形式的。