After eating Amway in Blackwater Park, let's take a look at the seed players in the unit brain hole drama world after "Black Mirror".
First move some background knowledge gained from "Blackwater" or other places: The Twilight Zone was first broadcast in 1959 and is the true originator of independent unit dramas (choice of poems or series of stories). This time the version was reproduced by the original CBS, following the classic gameplay-such as setting up a narrator, and telling a few sentences on the plot from time to time. This operation also affected the later "Wonderful Stories of the World". In addition, the proverbial opening narration of this drama is probably also sampled from the 59th edition, old fan welfare √.
One association that cannot be unified with the above painting style: In 1959, the tenth year of the founding of the People’s Republic of China, Lao Mei did not forget to advance his brain-hole career during the Cold War... (line 8
The teachers in "Black Water" said that this show can slightly satisfy the audience's appetites that have been nurtured by "Black Mirror"—turn their eyes away from the "black mirror" that enslaves us, get up and return to the campfire. These stories in the Yin-Yang Demon Realm have confused the true and false, cannot distinguish between good and evil, and have unknown origin. Indeed, if "Black Mirror" relies on technology to dig brain holes, most of this series relies on what if flashed in my mind, such as the suspicious 10:15 in the second episode and the truth in the fifth episode. Let a child be the president-the strangeness of the daily superstitions brought out by the former makes people cool behind, while the latter, perhaps this what if is nothing new under the sun.
However, after watching the whole play, I was most impressed by the first episode, the story of a comedian. In the play, a well-known comedian tells the hero that if he wants to be successful on stage, he should abandon the way of "using comedy to guide people to think" as soon as possible, infect the audience with his own story, and resonate with the audience. No one in the audience wants you to teach him how to behave. Everyone comes to have fun. However, it should be noted that once you choose to take out a part of yourself to make fun of, this part will no longer belong to you, "they will disappear completely in your life."
I have no objection to this senior's theory. In the age of readers, the author is dead. Comedians create with their own lives as the center. At the moment when the performance is completed, the stories of the performers are consumed by others, and the audience will leave with these stories or internalize them as a part of themselves. After that, the audience will mention the performer’s dog, nephew, or girlfriend. They are just people or things in the story, and have nothing to do with the performer’s real-life dog, nephew, or girlfriend. At the same time, these stories are no longer affected by the performer. control. They can be changed by word of mouth. This is the meaning of "no longer belong to you".
But this story goes one step further and discusses "if the object of ridicule really disappears from the life of a comedian." The male protagonist who is dominated by this setting has succumbed to the rules of success in the comedy world time and time again, and exchanged fragments of his own life for full applause. Since the disappearance of the ridiculous object can leave no trace, he who uses "rules" to do whatever he wants is almost overlapped with the new world's KAMI, especially when both of them have small black books-the actor does not hesitate He replaced the wicked person in his mind with applause, and walked to the pinnacle of his career with peace of mind in the name of "walking for the sky".
From the mouths in front of them to the school bullies of childhood, the hero wiped them clean one by one. What he didn't realize that the one who killed Red Eye was that the wicked were also part of his life. After getting rid of "the boss who was a little ambiguous with his girlfriend", the evil consequences of wanton change of life finally came to him. His girlfriend turned from a lawyer to a waiter in a restaurant, and the trip to Paris to save the relationship between the two was also deleted. To make matters worse, the male protagonist who experienced dramatic emotional changes was quickly pushed onto the stage. Here, he confronted his girlfriend who was about to expose him in the audience: whether he sacrificed his girlfriend and reaped another round of applause, and the male protagonist fell into a desperate situation.
In the end, the protagonist who became a man chose to let the rules swallow him up.
Sell life
--- The following is a draft, too sleepy to have time to continue the code
Egg tarts. They talked about the comedy industry, and they refused serious topics.
In this way, the stubbornness of the audience is just a necessity for comedy performances.
Acting with nephews, dogs, and girlfriends.
; If you want to cheat on the Second Constitutional Amendment, you won’t come here.
In addition, Dean Jin caught a particularly good detail: most industry practitioners (such as the male protagonist’s female colleagues) are also attacking Xia Sanlu, which also compressed the male protagonist’s space for serious comedy.
I believe this is the voice of some comedy practitioners. After all, Jordan Peele's name is still in the screenwriter column. However, this issue is far from the contradictory core of the story. In the story of the male protagonist's pursuit of fame and fortune, the audience who refuses to use their brains and the bad industry environment are just difficulties that he needs to overcome. And he, who couldn't walk the path of ideals, was inspired by his idols-to trade with yourself.
Dean Jin also mentioned a point that deserves to be advertised, that is, the consumption of ridicule objects in the form of comedy; in other words, the consumption of reporters by the media and spectators in real life.
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