I saw the recommendation and found the first season. After watching the first episode in the middle of the night last night, I was in a trance and didn't sleep well all night. When I was half asleep, I felt that the cabinet was full of people whispering like in the play. The remaining five episodes were made up on and off during the day. In the six episodes, some people applauded after watching it, and some people felt that something was missing after watching it. The common denominator, of course, is that the final two minutes do feel some kind of reversal, and of course the type of reversal varies from episode to episode (except for the well-known bad taste of episode 6). My favorite of the six episodes is the third episode, Tom and Jerry, whether it is suspense, foreshadowing, misleading or reversal, it has reached the standard. Among them, the ending of the fourth episode of blowing the balloon can be guessed, and the degree of reversal is not large. The second episode of the stupid thief's comedy has a stronger meaning, and the style of the whole story tends to be absurd. To be honest, I didn't read the film review, and I still have some misunderstandings about the final ending. Episode 6 was purely scary, and for me at least visually it succeeded in scaring me. Finally, I want to talk about the first episode of the sardine game, which is the best in most people's hearts. The story discussion space and details are the biggest in this season, and I also admit that. But before the ending comes out, this story is the one that tests the audience's patience the most. Let's start with the foreshadowing. Audiences in this series will be more nervous than watching other shows, for fear of missing a clue. In fact, there is no need for it. The so-called foreshadowing of the story is to let the audience watch a part of the story that they think is logical. As a result, the audience will find it as a fault, and it will inevitably be too tiring to watch. As long as you watch the ending with peace of mind, and then think about it while being shocked, the key foreshadowing will naturally emerge. Here are a few more digressions. I never like to guess the ending when watching TV dramas or books. What I enjoy is the sense of surprise when the author leads me into the trap and finally steps in. After reading it, go back and reflect on the author's routine. The foreshadowing of Secret No. 9 is very natural but also very unnatural. It's a pretty amazing feeling. What does it mean to be natural but unnatural? It's natural that the foreshadowing, buried in dialogue and everyday action, seems to be a part of life that later turns out to be the foreshadowing of the key plot. For example, in the second story, the sauce that the owner ate at the beginning was later used by him to cover up the blood stains. When you saw it, you would think, ah, it was already arranged at that time. Where is the unnatural then? It's some abrupt and strange feeling between the characters' speech and behavior. Yes, the unnaturalness here is not criticism, but a way of setting suspense. It is the addition of a trace of abnormal elements to the usual plot, which will have some subtle and strange feelings. For example, in the first episode, the characters talk in the closet. It is normal to talk, but the environment is placed in the closet. , a subtle cognitive bias is produced, and people will feel a small sense of strangeness. This kind of weirdness is okay if it's just one place, but when it pops up from time to time in the story, it can make you feel unexplainably nervous. In Mystery No. 9, this weirdness runs through almost the entire season, so that when you watch a certain episode, you will have a thump in your heart with its own sound effect. Of course, we must also talk about the problems caused by the foreshadowing. When watching the drama, audience members often joked, and even mentioned in many comments, that the first 28 minutes of enduring was to wait for the last two minutes to reverse. In other words, the previous plot really challenged the patience of the audience. This problem is more serious in the first and fifth episodes. The first episode is because the essence is in the dialogue, and the audience who did not see the ending will not Understand what these conversations mean. Although I said earlier that there is a subtle sense of weirdness here, this is a bit of suspense, but this suspense is still relatively weak, and it is not enough to develop an interesting plot. The fifth episode is because I don't understand Macbeth, so it may not resonate with the plot. But obviously the crew knew this shortcoming, so they set the time of each story within 30 minutes, which was just within the audience's tolerance range, half an hour, and the audience could afford to wait for another reversal. If you want to change it to an hour, I will give up no matter how you end up. But I have to say that this is obviously unfair to the audience who don't understand the urine of the story at all. The most basic thing in a story is suspense. Even if you are a shitty love drama on the street, you must make the audience go down. Watch the suspense until the end. Instead of telling you first, the ending is wonderful, as long as you get through the boring time ahead. Put the cart before the horse. So I think it's a flaw that's not a flaw in the first episode. And like the second episode, the plot itself is very interesting, so even if we don't know there is a big twist in the ending, we all want to know what will happen next. Talk about inversion. There are two kinds of reversals, one is called cognitive reversal, which throws you a cognition first, and then breaks the cognition at the end. Like Pip's identity in the first episode. At first he told us that he was an IT employee who came to the party Yunyun. From then on until the end, we kept this perception, and then suddenly bang, shattered this perception and told us that this guy is here to kill. The other is misleading reversal, in which the director will mislead the audience with a number of tricks, the most common being narrative tricks. Not covered in this season, not discussed in depth. Another type of misleading is guided misleading. This technique was most ingeniously used in the third episode of Tom and Jerry, and it was also used in the fourth episode to blow up the balloons. The director deliberately strengthened how several people divided the balloon and drew the audience's attention The force is directed upward, and finally the balloon is released. On the whole, this ending is not too unexpected, and many people can guess it. But the highlight of this story is not the reversal, but the irony itself. This ending is even more finishing touch, which makes people feel particularly refreshing. Mainly talking about my favorite Tom and Jerry. This story uses both cognitive reversal and misleading reversal. There is no need to say more about cognition. Jerry and Miguel have come here again and again, and misleading is misleading the audience's psychology, especially for watching After many viewers of suspense and reasoning dramas, this misleading is even stronger. The first layer of misleading made everyone think that MiG was imagined by Tom, but until the two minutes of reversal, there was still a second layer of misleading, making us think that MiG and Jerry were both imagined. It wasn't until the last moment, when MiG's body appeared in the bathtub, that the audience suddenly realized that MiG was real and Jerry was fake. Old drivers will feel more strongly about this reversal. Because of the split personality setting, it has been played badly. If only MiG is fake, then the audience will obviously be very disdainful. The screenwriter may have grasped the psychology of the old driver of the audience and constructed this layer of reversal. Everyone likes reversal. Today's detective novels, mystery novels, if the ending is not reversed, it is simply impossible to read. But it is also a reversal, and there are also highs and lows. Like pointing out an unexpected murderer, Conan is tired of playing, and everyone has a strong immunity. And the reversal of some novels, regardless of the development of the plot, regardless of the characters, and more importantly, there is no foreshadowing. I think that the life of reversal comes from foreshadowing, and the most brilliant reversal can completely deduce the result of the reversal from the foreshadowing. Instead of forcing a setting, use it to justify it. One of the successes of Secret No. 9 is that it is qualified. Note that it is qualified, not perfect. Then talk about the incomprehensible ending. This kind of story is also quite interesting in the history of film. They are often unable to see the whole picture when they first see it, and they need to watch it repeatedly, or even look for other people's analysis, in order to get a general outline. However, even the analysis is not necessarily the truth of the story. And this kind of interpretation space of thousands of people is exactly what makes people fascinated by this type of film and television drama, such as Mulholland Drive and Inception. But there are also polarized audiences for these kinds of stories. The ones you like are called divine works, and the ones you don't like are called tricks. Actually it's all right. The sardine game in the first episode of The Secret No. 9 is also a representative of this type of story, and the interpretation and discussion he sparked steadily won the highest in the series. Personally, I actually prefer the kind of reversal story that can be understood at a glance. At the end of the second, all the foreshadowings are revealed, and you will be amazed. Simple yet so subtle. The truth is always in front of you but you keep ignoring it. This sense of surprise is stronger than a movie that can only see the whole picture after reading it. Of course, radishes and watermelons have their own preferences. Finally, I want to talk about black absurd comedy. This is a very strong feature of Secret No. 9. It is especially prominent under the performance of the stupid thief in the second episode, of course, there are more or less references in each story. What does it feel like? First of all, you will feel weird when you see a certain plot, eh, how could this happen! It's like two stupid thieves in the house in the dark, but the people in the house are blind and can't see them, we will think this is absurd. But another layer of thought can accept this absurdity. Another example is the episode of blowing up the balloons, where we saw several adults do their utmost to fight for the last breath left by dead stars. We thought, ah this is ridiculous! But if you think about it, it's very reasonable, and it can even happen. This way of expressing a certain reality through some exaggerated environments is very suitable for the public. It not only achieves the effect of comedy, but also makes the audience feel that there is a force in the play. In fact, I am very confused about some of the current phenomena. Film critics say that works must have connotation, depth and force, so when ordinary audiences see some works that are reasonable, they will think, wow, this is so thoughtful. Then the storytelling is left alone, and we can see that the ideas are awesome. It shouldn't be like this. A story, first of all, is interesting and good-looking. It doesn’t matter if you can see the idea or not, and it’s not what you want in your heart if you force it. For most people, Mystery 9 is a good, good-looking story, and that's enough. In the end, I give this show four and a half stars. The way of expressing a certain reality through some exaggerated environments is very popular with the public. It not only achieves the effect of comedy, but also makes the audience feel that there is a force in the play. In fact, I am very confused about some of the current phenomena. Film critics say that works must have connotation, depth and force, so when ordinary audiences see some works that are reasonable, they will think, wow, this is so thoughtful. Then the storytelling is left alone, and we can see that the ideas are awesome. It shouldn't be like this. A story, first of all, is interesting and good-looking. It doesn’t matter if you can see the idea or not, and it’s not what you want in your heart if you force it. For most people, Mystery 9 is a good, good-looking story, and that's enough. In the end, I give this show four and a half stars. The way of expressing a certain reality through some exaggerated environments is very popular with the public. It not only achieves the effect of comedy, but also makes the audience feel that there is a force in the play. In fact, I am very confused about some of the current phenomena. Film critics say that works must have connotation, depth and force, so when ordinary audiences see some works that are reasonable, they will think, wow, this is so thoughtful. Then the storytelling is left alone, and we can see that the ideas are awesome. It shouldn't be like this. A story, first of all, is interesting and good-looking. It doesn’t matter if you can see the idea or not, and it’s not what you want in your heart if you force it. For most people, Mystery 9 is a good, good-looking story, and that's enough. In the end, I give this show four and a half stars.
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