idle Talk less. LOM represents the god-like level of the BBC and many British screenwriters. The main line of the story is clear, the front and back echoes are appropriate, the lines are close to life, the side lines are interspersed well, the laughter is not vulgar, and the suspense is well grasped. What's more shameless is their way of showing off culture, such as showing off the Persian cat Uncle David Bowie's stuff is already a side dish, and it is normal to make fun of celebrities at every turn. I would like to offer my most sincere love to the writers of British dramas I love so much. I am so honored to have you in my life.
And then, although the British drama says it's just those few people, but the old face never gets tired of watching it. John Simm, as always, has a unique feature. Compared with those in our country who always have a bitter face that others owe them money, JS's frowning eyebrows perfectly interpret the melancholy elegance and the bitterness and hatred of the world. . In addition, JS's tender and loyal dog can also appear in his true colors, and his acting skills and style can be said to shine silently. It is an honor to have you as my friend. Uncle Philip Glenister also perfectly interprets his role, with a moderate amount of relaxation, one point is too much, and one point is not enough. But they are all honestly staying on this island for me, and going to Hollywood is a waste of you. Just look at Uncle Hugh Laurie and you'll understand. The first few seasons were okay, but the more you go on, the more you feel that Jiang Lang's talent was wasted by the screenwriter of the rice drama.
I won't repeat the storyline of LOM. What I think is commendable is that LOM, in the skin of a cop sci-fi film, alludes to a middle-class grand escape fairy tale. One thing I have always hated about American dramas is that American drama screenwriters are not greedy enough to swallow elephants. Every time they use an episode to tell one or more truths, the result is that the truth itself is so simple that everyone can get it and kill it, or it is not at all. Did not speak clearly. In contrast, British drama screenwriters are much more composed, and use one season or more to tell you a central idea. Therefore, as long as the British drama is not a soap opera, it will not have the feeling of a soap opera.
But my appreciation for the way they tell their stories doesn't mean I appreciate the subject matter of their stories. At the end, JS jumped off the building and traveled back to 1973, which can be said to make me faint. I don't know where the British middle class has such a strong escape complex that permeates them deeply. The same is true of my British friends, who are obviously from a wealthy background, and have to act like a gambler who is now drunk and drunk. On the one hand, they worry about the future and strive to take responsibility; on the other hand, they are self-indulgent and lack systematic planning for the future. I have nothing against anyone enjoying youth, but youth cannot be squandered. This kind of melancholy in the middle and upper classes seems to be very popular in the UK, and it will not become popular for a while. When Blur published Parklife and the Great Escape, they actually told the same story, which is evident.
And often this kind of escapist "hermit complex" also wears a very bright intellectual skin. LOM said "the truth is what you can feel" through the mouth of the black Bartender, and as a result, JS, who was caught in the hallucinatory Stockholm complex and cut his fingers, went back and became a hero. But escaping reality doesn't really help me at all.
I've always been thankful that I was born during this period, not 1973 or earlier, those ignorant years. I'm thankful that I can stroll leisurely across the summer of the British Isles with my flip-flops and hands in my shorts pockets, rather than the xenophobia, homophobia and sexism that swirled around forty years ago. Or maybe I can't even meet such a high level of ignorance, maybe I can only curl up in a dirty cowshed in some rural China, watching with fearful eyes a group of lunatics scolding my family. But I am lucky to be born now. Met a current friend. Worried about the present, excited for the present. I will persevere and stick to my principles like JS, my logic; explain my judgment, my position to my friends. Maybe compared to the messy 1973, the high-tech of the 21st century does look less human, but hey, this is where I live.
If everyone tries to escape by going back to the past, the world will never progress. I think that's why, despite the time machine being invented someday in the distant future, we've never encountered people from the future showing up here. Perhaps they are smiling at us in a corner, expecting us to give them confidence and strength, expecting our ancestors to give them a little inspiration for the troubles of their time. I don't need to go back in time because that's a spoiler; I don't want to travel to the future because that's cheating. I am just so relieved to be in the present moment, holding a handful of the sand of time in my hand, and it slowly flows from my fingers.
This is my future. I am my future.
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