一人游 Talk.01 Solo Journey Talk.01 第 01 篇 Section 01
阅读与观影 Reading and Cinema
返回 一人游 Talk.01 Back to Solo Journey Talk.011、2025年3月影评 Film Reviews: March 2025
《豺狼的日子》第一季 The Day of the Jackal Season 1
这部剧很难评价。整体上是一部纯粹的爽剧，观感很大程度上依赖 Eddie Redmayne（小雀斑） 的颜值与衣品支撑——他的英伦老钱风造型几乎每套都像在走秀。
This drama is difficult to evaluate. Overall, it functions as pure escapist entertainment, its viewing appeal largely carried by Eddie Redmayne’s physical presence and sartorial flair—nearly every ensemble in his British old-money wardrobe looks plucked straight from a runway.
问题集中在 反派塑造 上。豆瓣的批评大多针对女主颜值，但黑人女警长这一选角本身并非症结——《疑犯追踪》中的“卡姐”（Taraji P. Henson）便是成功先例。真正的失败在于写法：警长完全被塑造成恐怖分子式的人设，人物侧写极为潦草，全剧缺乏“猫鼠游戏”应有的 理念冲突 。此外，我对这类“政治正确”式的选角安排持保留意见；就本剧而言，该角色的面部表情呈现也显得单薄。
The core defects congregate around the depiction of the antagonist. Douban reviews mostly gripe about the female lead’s looks, but casting a Black female police chief is not itself the fatal flaw—Carter (Taraji P. Henson) in Person of Interest remains a shining precedent. The true failure lies in the writing: the police chief is written entirely like a terrorist with slapdash profiling, completely stripping the cat-and-mouse dynamic of its requisite ideological conflict. Moreover, I hold reservations about this genre of identity-politics casting; within this production, the actor’s facial palette also proves conspicuously one-dimensional.
结论：可根据对小雀斑颜值的接受程度决定是否观看。
Verdict: Watch or skip strictly based on your appetite for Eddie Redmayne’s aesthetics.
奥斯卡季观影札记 Oscar Season Viewing Notes
《艾米莉亚·佩雷斯》（Emilia Pérez）设定是 跨性别同性恋毒枭充当底层救世主 。跨、双、同各自我都能接受，但“又跨又同”的叠加超出了我的认知范围，建议谨慎观看。片中 Selena Gomez（傻脸） 的表演是亮点，角色与她非常契合。
Emilia Pérez presents a premise of a transgender lesbian drug kingpin reinvented as a savior of the disenfranchised. Trans, bi, and gay identities are each fine by me individually, but stacking “transgender AND lesbian” pushed beyond my cognitive horizon; exercise caution. Selena Gomez’s turn is the standout highlight, tailored seamlessly to her persona.
《阿诺拉》（Anora）讲述一名脱衣舞女无法打破阶层壁障、为情爱所困的故事。结构上前半段近乎情色片，后半段转为喜剧，结尾则是“悲惨世界”。 女主的表演出色，但剧本相当离谱 。
Anora chronicles an exotic dancer trapped by romantic delusion, unable to puncture socioeconomic barricades. Structurally, the first half borders on erotica, pivots into screwball farce mid-stride, and culminates in pure Les Misérables. The lead actress delivers an extraordinary performance, but the screenplay is wildly preposterous.
看完这两部之后，我坚定支持 Demi Moore 凭《某种物质》（The Substance）拿下奥斯卡最佳女主角——完胜。
Having watched both, I unreservedly champion Demi Moore to sweep the Academy Award for Best Actress for The Substance—a total, undisputed triumph.
《编号17》（Mickey 17）奉俊昊新作，观感尚可，喜剧效果不错，但情感线可有可无。片中一处“疑似女同被男主掰直”（或为双性恋）的情节颇为莫名，意义不明。原以为是纯科幻片，实际延续了近期潮流：大量隐喻，近似某种 成人童话 。
Mickey 17, Bong Joon-ho’s latest outing, is a serviceable watch with good comedic effect, though its romantic arc feels completely dispensable. An awkward plot point involving an ostensibly lesbian character “turned straight” by the male lead (or framed as bisexual) comes across as utterly bizarre and narratively gratuitous. Anticipated as pure science fiction, it actually conforms to recent cinematic trends: layered allegories coalescing into a sort of fairy tale for adults.
值得二刷的剧 TV Series Worth Rewatching
二刷《 西部世界 》第一季——能让我二刷的剧不多，此前只有《 疑犯追踪 》S3、《 绝命毒师 》S1、《 权力的游戏 》S5。这种 每个镜头都有用意 的美剧，真心值得二刷。
Rewatching Season 1 of Westworld—few series compel me to revisit them, previously limited to Season 3 of Person of Interest, Season 1 of Breaking Bad, and Season 5 of Game of Thrones. American television crafted where every frame harbors deliberate intent genuinely warrants a second voyage.
创作者层面的欣赏集中在 乔纳森·诺兰 （《奥本海默》《盗梦空间》导演克里斯托弗·诺兰之弟）：他是《西部世界》与《疑犯追踪》的主创，也参与了蝙蝠侠三部曲；其剧集配乐尤其出色，记得他说过特别喜欢 德彪西 。诺兰兄弟在科幻创作者中属于特别有野心的一类，前两年的《信条》同样与科技前沿接轨。
At the creative helm, my admiration zeroes in on Jonathan Nolan (brother to Christopher Nolan of Oppenheimer and Inception): he co-created both Westworld and Person of Interest, and contributed to the Dark Knight trilogy. The musical scoring in his shows is exceptionally sublime; I recall him professing an abiding adoration for Debussy. The Nolan brothers rank among the most fiercely ambitious minds in contemporary speculative fiction; Tenet from two years earlier similarly intersected bleeding-edge theoretical physics.
由剧及己，一个直觉性的判断： 根据熵增理论，人类不可能在给予足够高权限的前提下，永远控制比人类聪明的人工智能 。人类几千年的文明建立在 道德感与社会契约 之上，而人工智能完全不讲这一套。希望我们这代人不必与”ChatGPT 仿生人”竞争——它们即便没有躯体、只活跃在互联网上，也已足够离谱；以后微博热搜都可以直接由电脑来写。
Extrapolating from fiction to reality, an intuitive deduction emerges: according to the theory of entropy increase, humanity cannot perpetually control an artificial intelligence vastly smarter than itself once granted sufficiently high permissions. Millennia of human civilization rest upon moral consciousness and social contracts; artificial intelligence operates wholly outside these tenets. I pray our generation never has to compete against “ChatGPT androids”—even disembodied and roaming cyberspace, they are already unnerving enough; soon enough, trending social media feeds will be autocratically scripted by algorithms.
我提到 ChatGPT 新出的语音功能已相当厉害，并感叹诺兰仿佛预言了很多东西——《疑犯追踪》S5 讲的正是超级人工智能进入全球互联网、军方授予过多权限而最终失控的故事。当年该剧草草完结，据说诺兰不想再拍没有躯体的 AI，转头去拍了《西部世界》第一季。
I noted that ChatGPT’s recent advanced voice feature is strikingly capable, marveling at how prophetic Nolan was—Season 5 of Person of Interest depicted precisely a super-intelligent AI entering the global internet after the military yielded excessive operational authority, culminating in systemic loss of control. When the show wrapped prematurely, rumors swirled that Nolan had grown weary of lensing disembodied machine minds, pivoting directly toward the physical android hosts of Westworld Season 1.
2、地狱之门打开了 The Gates of Hell Have Opened
对文学课的不满 Dissatisfaction with Literature Class
此前的话本是调侃，但我确实怀疑老师是在讲文学还是在讲历史——照这个讲法，下次讲《百年孤独》是不是要从拉美几百年殖民史说起？讲希腊文学如此处理尚可理解， 以无神论者的姿态讲解基督教 ，在我看来多少带有一种文科生特有的傲慢。也不明白课讲成这样，为何还要求同学每天来听。YFN倒觉得她讲得认真；我还是更喜欢老教师的课堂。
My earlier banter was half-joking, yet I genuinely question whether this instructor is teaching literature or lecturing on history—by this pedagogical logic, will lecturing on One Hundred Years of Solitude require unpacking centuries of Latin American colonial historiography? While such methodology is somewhat defensible for classical Greek epics, explaining Christianity from an atheist stance betrays a condescending arrogance peculiar to certain humanities scholars. Nor can I comprehend why, delivering lectures in this manner, daily mandatory attendance is enforced. YFN considered her earnest; personally, I still revere the measured depth of veteran professors.
我现在比较喜欢读那些作者”消失在故事里”的书；中国当代的书太直给了，把自己的想法写得明明白白。找书时我基本参考诺贝尔奖、龚古尔奖、普利策奖、星云奖等奖项名单，还有法国的杜拉斯奖——不过法语作品我看得不多。
Lately, I gravitate toward books where the author “vanishes within the narrative”; contemporary Chinese literature is too direct, spelling out the creator’s thoughts explicitly. When scouting reading material, I generally cross-reference laureates of the Nobel, Goncourt, Pulitzer, and Nebula awards, as well as France’s Prix Marguerite Duras—though my reading of French texts remains modest.
我目前对中国当代文学没什么兴趣：暑假读了《废都》，感觉水平很一般，而这本书已经算近三十年相当好的作品了。上学期与周院长交流，他也认为新时代中国各大文学奖的获奖名单乏善可陈，甚至认为纯文学迟早会被视频、图文等媒介取代——这就涉及传播学了，超出了我的知识范围。
At present, I harbor little enthusiasm for contemporary Chinese fiction: reading The Abandoned City (Fei Du) over summer, I found its caliber decidedly mediocre, despite standing as one of the celebrated titles of the past three decades. Conversing with Dean Zhou last semester, he likewise acknowledged that rosters of contemporary Chinese literary prizes are utterly uninspired, even positing that pure belles-lettres would sooner or later be replaced by video and multimedia formats—a debate trespassing into communication theory, exceeding my intellectual bailiwick.
但丁的神曲 Dante’s Divine Comedy
课程终于讲到《神曲·地狱篇》的地狱之门：
The curriculum at last reached the Gate of Hell in Dante’s Inferno:
从我，是进入悲惨之城的道路，
从我，是进入永劫的痛苦的道路，
从我，是走进沉沦的人群的道路。
正义感动了我的”至高的造物主”：
“神圣的权力”，”至高的智慧”，
以及”本初的爱”把我造成。
在我之前，没有创造的东西，
只有永恒的事物；而我永存；
你们走进这里的，把一切希望抛弃吧。
——但丁《神曲·地狱篇》，朱维基译，上海译文出版社，1984年，第19页
Through me lies the road into the city of misery;
through me lies the road into eternal pain;
through me lies the road among the lost.
Justice moved my “supreme Creator”:
“divine power,” “highest wisdom,”
and “primal love” made me.
Before me, nothing was created
except eternal things; and I endure forever.
You who enter here, abandon all hope.
— Dante Alighieri, The Divine Comedy: Inferno, translated into Chinese by Zhu Weiji, Shanghai Translation Publishing House, 1984, p. 19; English rendered here from the cited Chinese text
仿佛末日审判将至、地狱之门将启。读到这里，忽然想读弥尔顿的 《失乐园》 。我贪色、浪费、伪善、渎神、嫉妒、懒惰而且傲慢——每次读《神曲》，都感到自己如此渺小而可笑。
As though the Last Judgment loomed and the portal to the abyss swung ajar. Encountering this passage, a sudden yearning stirred to read Milton’s Paradise Lost. I am lustful, wasteful, hypocritical, blasphemous, envious, indolent, and proud—each reading of the Divine Comedy leaves me feeling agonizingly minute and absurd.