Last year, I was very happy to learn about the movie The Poison Master? The Life Conqueror logged on to Netflix. Although I watched it for the first time, I still felt that something was missing. The summer is hot, the theaters are not open for a long time, and there are no new dramas that I am interested in recently. I accidentally swiped a Douyin about Poison Master, which brought back memories of the first time I watched it, so I decided to watch it again. I just watched it. After all, it is true that some works are enough once, and some are not enough, and Poison Master obviously belongs to the level of never tire of a hundred times. It is only now that I know why I felt missing when I just finished watching the movie last year. This lack is not because of the lack of a certain segment of the plot, which leads to the poor viewing of the movie, but a lack of continuity and extensibility. When your thinking is still in a certain mode, you will be quick-witted when you contact other content in this mode. On the contrary, when your thinking has left this mode, you will be slow to explore. Speaking of the characters, the success of this drama is not only due to the exquisite plot design, the meticulous dressing up, and the fascinating story episodes, but it is the creation of every character that really makes it a god. It can be said that there is no one from the main character to the supporting characters. "Paper Man", each character has its own personality, the image is extremely full, and the plot progresses just right, in a word: you will know when you see it. It made me realize the powerlessness of a person in the face of fate. The whole drama is a complete tragedy. From the moment Lao Bai started to make drugs, the audience can know his final tragic ending. But the screenwriter uses family affection and social background to make Lao Bai constantly conflict, contradict, and resist; let him use conflict to shape characters, use contradictions to show psychological struggle, and use resistance to interpret tragic fate. Combined with the character setting of Lao Bai, this kind of resistance is on the surface a confrontation with the outside world, but in fact it is a struggle with the self, a struggle against the injustice of fate, and a contest with life! But there is only one ending, and the more you resist, the more tragic you become. Revolting again and again, making choices every time is more difficult than every time. The real tragedy is not the contest between justice and evil but the contest between justice and justice and develops to its logical end. This is the highest level of tragedy mentioned by Hegel when discussing tragedy. But looking at the greatest part of the entire Breaking Bad show, it is undoubtedly making the audience forget that the protagonist is actually a villain, making the audience cry for him in pain, making the audience think he is a person first, and then a bad guy , and the pain of the protagonist is precisely the most real emotion in human life, which resonates with the audience. Does the audience really agree with the protagonist's drug-making behavior? No, the audience identifies with the protagonist's pain, his plight, his misery. The tragedy of Breaking Bad, like all classical tragedies, has no winners. There are no real good people and no real bad people. They are all poor people torn by fate. Like most of Shakespeare's works. Breaking Bad is a height on a height. All his accolades are well deserved. Stop talking, go and revisit Baby Blue.
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