马男波杰克第五季

动漫美国2018

主演:威尔·阿奈特,艾米·塞德丽丝,爱丽森·布里,亚伦·保尔,保罗·F·汤普金斯,斯蒂芬妮·比翠丝,周洪,吉恩·维尔皮克,拉米·马雷克

导演:艾米·温弗瑞,安妮·沃克·法瑞尔

 剧照

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更新时间:2024-04-11 16:58

详细剧情

  Netflix确认《马男波杰克》已续订第五季

 长篇影评

 1 ) Bojack Horseman S5E6 Scripts

So I stopped at a Jack in the Box on the way here, and the girl behind the counter said, “Hiya! Are you having an awesome day?” Not, “How are you doing today?” No. “Are you having an awesome day?” Which is pretty… shitty, because it puts the onus on me to disagree with her, like if I’m not having an “awesome day,” suddenly I’m the negative one.

Usually when people ask how I’m doing, the real answer is I’m doing shitty, but I can’t say I’m doing shitty because I don’t even have a good reason to be doing shitty. So if I say, “I’m doing shitty,” then they say, “Why? What’s wrong?” And I have to be like, “I don’t know, all of it?” So instead, when people ask how I’m doing, I usually say, “I am doing so great.”

But when this girl at the Jack in the Box asked me if I was having an awesome day, I thought, “Well, today I’m actually allowed to feel shitty.” Today I have a good reason, so I said to her, “Well, my mom died,” and she immediately burst into tears. So now I have to comfort her, which is annoying, and meanwhile, there’s a line of people forming behind me who are all giving me these real judgy looks because I made the Jack in the Box girl cry. And she’s bawling, and she’s saying, “I’m sorry, I’m so sorry,” and I’m like, “It’s fine. It’s fine.” I mean, it’s not fine but, you know, it’s… fine. And I would like to order a Double Jack Meal, and I’ve kinda got somewhere to be, so maybe less with the crying and more with the frying, huh? [inhales] And the girl apologizes again and she offers me a free churro with my meal. And as I’m leaving, I think, “I just got a free churro because my mom died.” No one ever tells you that when your mom dies, you get a free churro.

[people murmuring]

[clears throat]

Anyway, I’m sorry, that’s not part of the… [clears throat] All right. Okay, here we go. Let’s do this. Here I am, BoJack Horseman, doing a eulogy, let’s go. Hey, piano man, can I get a, like an organ flourish? [organ plays] Nicely done. You know, I was a little worried I wouldn’t have the right accompaniment today. I guess it’s a good thing my mom was an organ donor! [rimshot plays] What happened to the organ? [horn ‘oogahs’] Okay, why just leave the comedy to the professionals? Okay? This is a funeral, sir, for my mother. Can you show a little respect? [trumpet whines] I’ll take it.

Beatrice Horseman, who was she? What was her deal? Well, she was a horse. Uh, she was born in 1938. She died in 2018. One time, she went to a parade, and one time, she smoked an entire cigarette in one long inhale. I watched her do it. Truly a remarkable woman.

[rustling]

Lived a full life, that lady. Just, all the way to the end, which is, uh, now I guess. Really makes you think, though, huh? Life, right? Goes by, stuff happens. Then you die. Okay, well that’s my time, you’ve been great! Tip your waitress! No, I’m just kidding around, there’s no waitress. But seriously, that’s all I have to say about my mother. No point beating a dead horse, right? So…

[inhales] Now what? I don’t know. Mom, you got any ideas? Anything? Mom? No? Nothing to contribute? Knock once if you’re proud of me.

Can I just say how amazing it is to be in a room with my mother, and I can just talk and talk without her telling me to shut up and make her a drink? Hey, Mom, knock once if you think I should shut up. No? You sure? I mean, I don’t want to embarrass you by making this eulogy into a me-logy, so, seriously, if you wanted me to sit down and let someone else talk, just knock. I will not be offended. No? Your funeral.

Sorry about the closed casket, by the way. She wanted an open casket, but uh, you know, she’s dead now, so who cares what she wanted? No, that sounds bad. I’m sorry. I-I think that if she could’ve seen what she looked like dead, she’d agree it’s better this way. She looked like this.

[groaning]

[mourners gasping]

Kinda like a pissed-off toy dinosaur. The coroner couldn’t get her eyes closed, so now her face is forever frozen in a mask of tremendous horror and anguish. Or as my mom called it, Tuesday! Tuesday! My mom called it Tuesday.

[woman coughs]

Hey, Mom, what did you think of that joke? You like that? You never did care for my comedy.

[clears throat]

Here’s a story. When I was a teenager, I performed a comedy routine for my high school talent show. There was this, uh, cool jacket that I wanted to wear because I thought it would make me look like Albert Brooks. For months, I saved up for this jacket. But when I finally had enough, I went to the store and it was gone. They had just sold it to someone else. So, I went home and I told my mother, and she said, “Let that be a lesson. That’s the good that comes from wanting things.” She was really good at dispensing life lessons that always seemed to circle back to everything being my fault.

But then, on the day of the talent show, my mother had a surprise for me. She had bought me the jacket. Even though she didn’t know how to say it, I know this meant that she loved me.

Now that’s a good story about my mother. It’s not true, but it’s a good story, right? I stole it from an episode of Maude I saw when I was a kid, where she talks about her father. I remember when I saw it, thinking, “That’s the kind of story I want to tell about my parents when they die.” But I don’t have any stories like that. All I know about being good, I learned from TV. And in TV, flawed characters are constantly showing people they care with these surprising grand gestures. And I think that part of me still believes that’s what love is. But in real life, the big gesture isn’t enough. You need to be consistent, you need to be dependably good. You can’t just screw everything up and then take a boat out into the ocean to save your best friend, or solve a mystery, and fly to Kansas. You need to do it every day, which is so… hard.

When you’re a kid, you convince yourself that maybe the grand gesture could be enough, that even though your parents aren’t what you need them to be over and over and over again, at any moment, they might surprise you with something… wonderful. I kept waiting for that, the proof that even though my mother was a hard woman, deep down, she loved me and cared about me and wanted me to know that I made her life a little bit brighter. Even now, I find myself waiting.

Hey, Mom, knock once if you love me and care about me and want me to know I made your life a little bit brighter.

[owl chirping]

My mother did not go gentle into that good night. She went clawing and fighting and thrashing, hence the face.

[groaning]

[mourners gasping]

If you’d seen her, I swear to God the only thing you’d be thinking about right now is that I am nailing this impression.

[woman clears her throat]

[chairs squeak]

I was in the hospital with her those last moments, and they were truly horrifying, full of nonsencial screams and cries, but there was this moment, this one instant of strange calm, where she looked in my direction and said, “I see you.” That’s the last thing she said to me. “I see you.” Not a statement of judgment or disappointment, just acceptance and the simple recognition of another person in a room. “Hello there. You are a person. And I see you.”

Let me tell you, it’s a weird thing to feel at 54 years old, that for the first time in your life your mother sees you. It’s an odd realization that that’s the thing you’ve been missing, the only thing you wanted all along, to be seen. And it doesn’t feel like a relief, to finally be seen. It feels mean, like, “Oh, it turns out that you knew what I wanted, and you waited until the very last moment to give it to me.” I was prepared for more cruelty. I was sure that she would get in one final zinger about how I let her down, and about how I was fat and stupid and too tall to be an effective Lindy-hopper. How I was needy and a burden and an embarrassment—all that I was ready for. I was not ready for “I see you.” Only my mother would be lousy enough to swipe me with a moment of connection on her way out. But maybe I’m giving her too much credit. Maybe it wasn’t about connection. Maybe it was a… maybe it was an “I see you,” like, uh, “I see you.” Like, “You might have the rest of the world fooled, but I know exactly who you are.” That’s more my mom’s speed.

Or maybe she just literally meant “I see you. You are an object that has entered my field of vision.” She was pretty out of it at the end, so maybe it’s dumb to try to attribute it to anything.

[woman sighs]

Back in the 90s, I was in a very famous TV show called Horsin’ Around.

[man coughs]

Please hold your applause. And I remember one time, a fan asked me, “Hey, um, you know that episode where the horse has to give Ethan a pep talk after Ethan finds out his crush only asked him to the dance because her friends were having a dorkiest date contest? In all the shots of the horse, you can see a paper coffee cup on the kitchen counter, but in the shots of Ethan, the coffee cup’s missing. Was that because the show was making a statement about the fluctuant subjectivity of memory and how even two people can experience the same moment in entirely different ways?” And I didn’t have the heart to be, like, “No, man, some crew guy just left their coffee cup in the shot.” So instead, I was, like… “Yeah.”

And maybe this is like that coffee cup. Maybe we’re dumb to try to pin significance onto every little thing. Maybe when someone says, “I see you,” it just means, “I see you.” Then again, it’s possible she wasn’t even talking to me because, if I’m being honest, she wasn’t really looking at me. She was looking just past me. There was nobody else in the room, so I want to think she was talking to me, but, honestly, she was so far gone at that point, who knows what she was seeing? Who were you talking to, Mom? [sighs] Not saying, huh? Staying mum? No rimshot there? God, whatever I’m paying you, it’s too much.

Maybe she saw my dad. My dad died about ten years ago of injuries he sustained during a duel. When your father dies, you ask yourself a lot of questions. Questions like, “Wait, did you say he died in a duel?” and “Who dies in a duel?” The whole thing was so stupid. Dad spent his entire life writing this book, but he couldn’t get any stores to carry it or any newspapers to review it. Finally, I guess this one newspaper thought he was pretty hilarious, because they ran a review and tore him to shreds. So my father, ever the proud Mary, decided he would not stand for this besmirchment of his honor. He claimed the critic didn’t understand what it meant to be a man, so he demanded satisfaction in the form of pistols at dawn. He wrote the paper this letter, saying anyone who didn’t like his book, he would challenge to a duel, anyone in the world. He’d even pay for airfare to San Francisco and a night in a hotel. Well, eventually this found its way to some kook in Montana, who was as batshit as he was and took him up on the offer. They met at Golden Gate Park and agreed: ten paces, then shoot. But in the middle of the ten paces, Dad turned to ask the guy if he’d actually read the book and what he thought, but, not looking where he was going, tripped over an exposed root and bashed his head on a rock.

[murmur]

I wish I’d known to go to Jack in the Box then. Maybe I could have gotten a free churro. It would’ve been nice to have something to show for being the son of Butterscotch Horseman. My darling mother gave the eulogy. My entire life I never heard her say a kind word to or about my father, but at his funeral she said, “My husband is dead, and everything is worse now.”

“My husband is dead, and everything is worse now.” I don’t know why she said that. Maybe she felt like that’s the kind of thing you’re supposed to say at a funeral. Maybe she hoped one day someone would say that about her. “My mother is dead, and everything is worse now.” Or maybe she knew that he had frittered away all her inheritance, and replaced it with crippling debt, which is a pretty shitty thing to leave your widow with. “Bad news, you lost a husband, but don’t worry, you also lost the house!” Maybe Mom knew she’d have to sell all her fancy jewelry and move into a home. Maybe that’s what she meant by “everything is worse now.” Is that what you meant, Mom?

I gotta say, I’m really carrying this double act. At least with Penn and Teller, the quiet one does card tricks. Hey, piano man, when I say something funny to my mom, how about you give me one of those rimshots?

[rimshot plays]

Yeah, but not now. When I say something funny. Like, okay. What’s the difference between my mother and a disruptive expulsion of germs? One’s a coughin’ fit and the other fits a coffin! That’s an example of a funny thing.

[rimshot plays]

Thank you. Let’s try again. Hey, Mom. What’s the difference between my mother and a bunch of Easter eggs? One gets carried in a basket, the other gets buried in a casket!

[rimshot plays]

Ready for one more? Last one. What’s the difference between a first-year lit major and my mother, Beatrice Horseman? One is decently read, and the other’s a huge bitch!

[woman gasps]

[murmurs]

Yeah, might have gone a little too far with that one. That one might’ve been a little too “my mom’s a huge bitch” for the room. I’m sorry, Mother. You’re not a huge bitch. You were a huge bitch… and now you’re dead.

[woman sighs]

You know, the first time I ever performed in front of an audience, it actually was, uh, with my mom. She used to put on these shows with her supper club in the living room and she used to make… [inhales] She used to make me sing “The Lollipop Song.”

[organ playing tune]

Those parties, they were really something. There were skits and magic acts, and ethnically insensitive vaudeville routines, and the big finale was always a dance my mother did. She had this beautiful dress that she only brought out for these parties, and she did this incredible number. It was so beautiful and sad. Dad hated the parties. He’d lock himself in the study, and bang on the walls for us to keep it down, but he always came out to see Mom dance. He’d linger in the doorway, scotch in hand, and watch in awe, as this cynical, despicable woman he married… took flight. And as a child who was completely terrified of both my parents, I was always aware that this moment of grace, it meant something. We understood each other in a way. Me and my mom and my dad, as screwed up as we all were, we did understand each other. My mother, she knew what it’s like to feel your entire life like you’re drowning, with the exception of these moments, these very rare, brief instances, in which you suddenly remember… you can swim.

[flashback]

[partygoers laughing]

[classical music playing]

But then again, mostly not. Mostly you’re drowning. She understood that, too. And she recognized that I understood it. And Dad. All three of us were drowning, and we didn’t know how to save each other, but there was an understanding that we were all drowning together. And I would like to think that that’s what she meant when we were in the hospital and she said, “I see you.”

You know, the weird thing about both your parents being dead is it means that you’re next. I mean, you know, obviously it’s not like there’s a waitlist for dying. Any one of us could get run over by a Snapchatting teen at any moment. And you would think that knowing that would make us more adventurous, and kind, and forgiving. But it makes us small, and stupid, and petty.

I actually had a near-death experience recently. A stunt went bad and I fell off a building. I’m an actor, I do my own stunts. I’m on this new show Philbert. I’m Philbert. Star of the show. It hasn’t come out yet, but it’s already getting Emmy buzz. Oh, speaking of buzz… [inhales] I’m supposed to take two of these every morning, but my days are so screwed up ‘cause of the shooting schedule, I don’t even know what morning means anymore. There’s a joke in there somewhere, about a guy who’s been to so many funerals, he doesn’t even know what mourning means anymore. Let you guys figure that one out for yourselves. [gulps]

Anyway, you know what I thought, when I was falling off the building and I went into panic mode? The last thing that my stupid brain could come up with before I died? “Won’t they be sorry.” Cool thought, brain.

[rimshot plays]

No, that wasn’t… would you just… dial it back, all right?

I don’t even know what “they” I wanted to be sorry. My mom, even before she died, could barely remember who I was. And of course, my dad’s dead. The last conversation I ever had with him was about his novel. He was so certain this book was his legacy. Maybe he thought it would vindicate him for all the shitty things he ever did in his stupid worthless life. Maybe it did, I don’t know. I never read it, because why would I give him that?

I used to be on this TV show called Horsin’ Around. Seriously, though, hold your applause.

[man coughs]

Well held. It was written by my friend Herb Kazzaz, who’s also dead now, and it starred this little girl named Sarah Lynn. And it was about these orphans. And early on, the network had a note, “Maybe don’t mention they’re orphans so much, because audiences tend to find orphans sad and not relatable.” But I never thought that the orphans were sad. I-I always thought they were lucky, because they could imagine their parents to be anything they wanted. They had something to long for.

Anyway, we did this one season finale, where Olivia’s birth mother comes to town. And she was a junkie, but she’s gotten herself cleaned up, and she wants to be in Olivia’s life again. And of course, she’s like a perfect grown-up version of Olivia, and they go to the mall together and get her ears pierced like she’s always wanted and—sorry, spoiler alert for the season six finale of Horsin’ Around, if you’re still working your way through it. Anyway, the horse tries to warn her, “Be careful, moms have a way of letting you down.” But Olivia just thinks the horse is jealous, and when the mom says she’s moving to California, Olivia decides to go with her. And the network really juiced the cliffhanger: “Is Olivia gone for good?” But of course, because it’s a TV show, she was not gone for good. Of course, because it’s a TV show, Olivia’s mother had a relapse and had to go back to rehab, so Olivia had to hitchhike all the way home, getting rides from Mr. T, Alf, and the cast of Stomp. Of course, that’s what happened. Because, what are you gonna do, just not have Olivia on the show? You can’t have happy endings in sitcoms, not really, because, if everyone’s happy, the show would be over, and above all else, the show… has to keep going. There’s always more show. And you can call Horsin’ Around dumb, or bad, or unrealistic, but there is nothing more realistic than that. You never get a happy ending, ‘cause there’s always more show.

I guess until there isn’t.

[chuckles]

My mom would hate it if she knew that I spent so much time at her funeral talking about my old TV show. Or maybe she’d think it was funny that her idiot son couldn’t even do this right. Who knows? She left no instructions for what she wanted me to say. All I know is she wanted an open casket, and her idiot son couldn’t even do that right. I’m not gonna stand up here and pretend I ever understood how to please that woman, even though so much of my life has been wasted in vain attempts to figure it out. But I keep going back to that moment in the ICU when she looked at me, and… “I-C-U.”

“I… see… you.” Jesus Christ, we were in the intensive care unit. She was just reading a sign. My mom died and all I got was this free churro.

You know the shittiest thing about all of this? Is when that stranger behind the counter gave me that free churro, that small act of kindness showed more compassion than my mother gave me her entire goddamn life. Like, how hard is it to do something nice for a person? This woman at the Jack in the Box didn’t even know me. I’m your son! All I had was you! [inhales]

I have this friend. And right around when I first met her, her dad died, and I actually went with her to the funeral. And months later, she told me that she didn’t understand why she was still upset, because she never even liked her father. It made sense to me, because I went through the same thing when my dad died. And I’m going through the same thing now. You know what it’s like? It’s like that show Becker, you know, with Ted Danson? I watched the entire run of that show, hoping that it would get better, and it never did. It had all the right pieces, but it just—it couldn’t put them together. And when it got canceled, I was really bummed out, not because I liked the show, but because I knew it could be so much better, and now it never would be. And that’s what losing a parent is like. It’s like Becker.

Suddenly, you realize you’ll never have the good relationship you wanted, and as long as they were alive, even though you’d never admit it, part of you, the stupidest goddamn part of you, was still holding on to that chance. And you didn’t even realize it until that chance went away.

My mother is dead, and everything is worse now, because now I know I will never have a mother who looks at me from across a room and says, “BoJack Horseman, I see you.” But I guess it’s good to know. It’s good to know that there is nobody looking out for me, that there never was, and there never will be. No, it’s good to know that I am the only one that I can depend on. And I know that now and it’s good. It’s good that I know that. So… it’s good my mother is dead.

[gulps, sighs]

Well. No point beating a dead horse. Beatrice Horseman was born in 1938, and she died in 2018, and I have no idea… what she wanted. Unless she just wanted what we all want… to be seen.

Is this Funeral Parlor B?

—— from Reddit

 2 ) 马男波杰克第五季分集情节概述

以下剧情概述系一路剧透到底,阅览请慎重。看完全剧又做完概述,才发现本剧主创在故事中安排的合理因素和草蛇灰线是多么的惊人,这也恰恰是国产剧最不足的地方

个人心目中最精彩的几集标题已加粗


S05E01 The light Bulb Scene

波杰克的新连续剧“Philbert”开拍了,但是他总是对于剧情本身的走向有很多疑问,现场的设计也跟他家很像,所以一直骚扰导演Flip。作为一贯的BoJack,他在片场跟他对戏的女主角Gina搞在了一处,与此同时他对于本剧物化女性的投诉让导演头疼万分,导演决定与其让他拍摄去Club给脱衣女郎画素描,不如像泰坦尼克号里一样让他给女主角画素描,而这一点也让女主角非常不爽。于是BoJack继续与导演抗争,导演恼羞成怒,做了一段一段‘你只是在寻求别人对你的关注’的评述后,决定让BoJack拍一段360度裸体拧灯泡,这样就不是物化女性而是物化男性了

卡洛琳公主终于下定决心准备领养,她去领养经理人处登记了自己的信息

陶德跟无性恋现女友尤兰达、前女友以及前女友的现男友消防员一起double date。陶德发现自己与现女友除了性特征一样以外都不一样,现女友嫌他没工作没面子,于是陶德出门找工作应聘清洁工,顺利成为该公司广告业务总监(可以这很陶德)

S05E02 The Dog Day are Over

戴安在离婚后跟花生酱先生一起去餐厅吃饭,花生酱在餐厅搭讪了新女友酸黄瓜。戴安去BoJack家聊天却无法解除自己的难过(在这个过程中她听到BoJack讲到了关于新墨西哥的故事,但只是开了个头)于是去换了发型衣着。当戴安去参加花生酱先生的派对,看到他亲别的女人于是情感崩溃,逃到了越南,并写了一篇‘10个去越南理由----最拽女生游记’的文章。在越南她遇见了一个美国小鹰(伙),假装语言不通两人发展出一段如同‘西贡小姐’的爱情故事,却在对方识破她会说英语后破裂。她最终还是回到了美国,和花生酱先生走完了协议离婚的签字流程

S05E03 Planned Obsolescence

陶德跟无性恋女友尤兰达去见父母,却要一起伪装成有性恋,因为尤兰达一家都非常的性活跃。两人花了不少力气伪装,最后尤兰达终于在情势之下在家人面前坦诚自己是无性恋,家人接受了但陶德却提出了分手

花生酱先生的新女友酸黄瓜接到建议,决定和花生酱先生take it slow慢慢来,却在去野外观测空间站销毁的路上彼此逐渐打开心扉

吉娜和BoJack搬到了一起,却不保持情感关系。她从小想要演唱音乐剧的理想被BoJack发现,BoJack为她安排了面试但结果不好,吉娜最终放弃了自己的这个理想。

S05E04 BoJack the Feminist

卡洛琳公主要问BoJack的新剧找一个男配角,找来了充满暴力史和道歉史的Vice。媒体却无风起浪,传播BoJack和新来的Vice不合,为了澄清,BoJack上了早餐秀,但是他的发言却被进一步曲解成女权主义和对Vice的抨击,这一点也让Vice和剧组彻底决裂,Vice同时宣传连续剧的剧情充满了物化女性。为解决这个问题,卡洛琳公主邀请了戴安来包装BoJack并加入剧组成为编剧,又邀请花生酱先生出演本剧的男配角

花生酱先生想打造更加强硬的个人性格特征,每一次的强硬却被当成是善良而非强硬的举动,这让他和来帮忙的陶德苦恼万分

S05E05 The Amelia Earhart Story

卡洛琳公主从小崇拜Amelia Earhart,第一个女性飞行员(她在之后每年的万圣节派对上都装扮成Amelia Earhart,真是骨灰粉)。她回到北卡老家去见自己准备领养的孩子的母亲,这个过程中她不断想起自己小时候的故事。她和这个年轻单身母亲一样,不慎怀孕。不同的是对方的家庭准备接受她和孩子(如果大家还记得的话,一如BoJack的父母的故事,只是男女角色互换),但是突如其来的流产让她刚刚说服自己接受的计划也无法继续,最终她决定追求自己的梦想去了UCLA,但是离开母亲是她心中永远的伤痛

波杰克拍特技不慎从房顶跌落摔伤了背,医生给他开了很多止疼片

S05E06 Free Churro

波杰克在自己母亲的葬礼上致辞

(这一集太过神,轻易的解构是对本季最大的不敬,大家还是自己看吧。片头到片尾就是波杰克的独白,至于为什么叫这个题目,致辞里有)

S05E07 INT.SUB

本集的故事讲述方式很有趣,是戴安的心理医生和陶德公司的调解专员约会,两个人互相讲述自己工作中遇到的故事。两条线互相穿插还有交集

BoJack母亲去世,却不断封闭自己,让戴安很苦恼,所以戴安在心理医生的建议下决定与BoJack保持距离。花生酱先生同样发现了自己父母去世却愿意打开自己与他人交流,对比之下让BoJack更加不爽。BoJack去找戴安的心理医生理论却建立了联系,戴安发现后告诉BoJack自己希望独占这个心理医生(以获得心理上的满足),BoJack却继续私下见心理医生并把医生当成朋友。但戴安生气的决定不再见这个医生后,BoJack却也逃离了这个医生,他只是需要戴安的注意

卡洛琳公主和陶德对于谁吃了冰箱里最后一根奶酪条起了争执……

连续剧的导演Flip写作上遇到了困难,戴安挺身而出帮助他写了新的剧情发展,却将BoJack饰演的Philbert这个角色写的无比像BoJack本人(考虑到戴安是BoJack的自传撰稿人,这个说法真是无比的合理)

S05E08 Mr Peanutbutter`s Boos

本集一样很神,其精彩程度超出了我语言的描述能力。主要讲述了花生酱先生先后带三位前妻和一位现任女友去BoJack家开万圣节排队的故事。四条时间线用相同的进度推进,彰显了花生酱先生不断地犯着同一个错误,而戴安是那个清醒的把问题指出的人

故事同样讲述了陶德如何来到BoJack家开始沙发客的生活,直指S01E01。故事也蜻蜓点水的展示了卡洛琳公主和BoJack在好莱坞这25年的变化

S05E09 Ancient History

BoJack的妹妹Holly在大学假期决定来LA看BoJack,却陷入了对上一季BoJack母亲给她下药的环境恐惧中,销毁了BoJack所有治疗背痛的止痛药。于是BoJack带着妹妹在深夜的LA四处历险找地方买止痛药却没能买到。Holly质疑BoJack是真的需要药物还是对止痛药上瘾,BoJack为了继续获得止痛药主动创造了车祸

陶德的前女友回来向他诉苦,现男友跟她之间只有性关系没有情感交流。陶德为了赢回前女友,制造了一个性爱机器人,希望以此赢回前女友的心

卡洛琳公主找前男友拉尔夫谈生意,紧急接到领养中心的电话去医院见一个孕妇,拉尔夫提出两人复合却惨遭拒绝。最后领养没能成功,卡洛琳公主一个人孤独的回家

S05E10 Head in the Clouds

众人的新剧philbert获得巨大成功,将要举行首映礼。首映礼上酸黄瓜并不喜欢本剧,先行离开。BoJack在首映礼后与戴安陷入争吵,认为自己才是自己所有行为的最终受害人,戴安愤怒的提出死去的萨拉琳,BoJack恼羞成怒,表示自己这样丧下去挺好,戴安却说自己对他仍抱有希望。BoJack最后解释了新墨西哥事件,戴安却对BoJack身上的黑暗异常失望,选择离开。花生酱先生送戴安回家并留宿

陶德带着性爱机器人去上班,机器人却意外成为了他们公司的CEO

S05E11The Showstopper

Philbert大获成功后众人连忙开始拍摄第二季,BoJack却由于角色与自己过于相像,加上自己身上的烂摊子过大和持续增长的对止痛药的上瘾,开始无法分清剧情和现实,压力之下不断的失眠并加大了药物摄入的剂量。随着拍摄中Philbert的破案,他也认为现实生活中所有人都要对他不利,要把连续剧中的角色和他混为一谈并将他毁掉,而他唯一应该做的就是保护Gina(唉,这是BoJack第一次这样为他人着想,虽然后来……)Gina在同居生活中发现了BoJack药物成瘾,想要扔掉药物却遭到BoJack的暴力对待。随着Philbert的故事揭晓,杀人犯正是Philbert自己,出演Philbert的BoJack沉浸于角色中,在拍摄时险些掐死Gina

S05E12 The Stopped Show

花生酱先生和戴安坦白自己还喜欢她,并决定跟酸黄瓜分手。在分手现场却无法承受传递坏消息的压力,最终向酸黄瓜求婚

陶德的性爱机器人CEO被下属举报性骚扰,公司受创被迫大举裁员,性爱机器人和陶德也都被开除,陶德最终毁掉了机器人并脱下西装回到了自己

由于BoJack险些掐死Gina,现场被工作人员拍成视频传到网上,剧组被迫公关。BoJack药物服用过度,已经不记得自己做了什么,看完视频后悔万分,希望找Gina原谅却遭拒绝。两人顺利完成的公关采访解除了剧组的危机,却彼此劳燕分飞。BoJack希望忏悔,找到戴安希望曝光自己,戴安告知如果他希望改变,最好的办法就是去戒毒中心待上6周。两人在戒毒中心门口挥手道别

以上剧情简述均系我自行概括,如有遗漏敬请谅解,转载请获得授权

 3 ) 漫谈《马男波杰克》背后的真实世界

我打开第五季的网盘,本来想放纵自己颓废一整天,刷完却不知怎么备受鼓舞。我一直以为流行文化和思想是矛盾的两极,但是马男第五季是如此地前所未有的深刻,使人唯有严肃对待,反思自己的世界。 这里,我并不是要覆盖到编剧所有的构想,只是举出一些引发我思考的点。

1 凝视理论和性别平权

在第一集中,吉娜批评菲尔伯特中的女性裸体戏和萨茜无脑人设为“男性凝视”(male-gazing),于是马男用学会的新词,用来跟编剧叫板,却适得其反,也被拍了裸戏。

此处字幕将male gaze(y) 译成“物化女性”

let's give women something to gaze

那么,什么是男性凝视?

男性凝视的概念最初是由女权主义电影评论家劳拉·马尔维(Laura Mulvey)在文章“视觉快乐和叙事电影”(1975)中提出的,其中她提出性别之间的权力不对称是电影中的控制力量;男性凝视是为了男性观众的快乐而构建的,这种观点深深植根于父权制的意识形态和话语中。
在相机将观察者置于异性恋男人的视角中时,他的视线徘徊在女人身体的曲线上,女性成为为电影故事中角色或电影的男性观众的色情对象。通过在男性凝视中,男性成为电影幻想中的主导力量,其中女性是男性观众主动凝视的被动对象。男性凝视优先于女性凝视反映了两性之间社会和政治权力的潜在不对称。”

而与男性凝视对立的是女性凝视。在此类电影中女性成为一个叙事故事讲述者,而不是一个对象。这些电影旨在代表女性主角的欲望,因此,代表女性电影观众的欲望。

但是女性凝视是不正常的,只要想象把文艺复兴时期绘画里面的绘画中女性换成男性就能明白。

自行脑补三秒……

然而这个正常的正是男性凝视不正常之处:无论是男性个体还是由这些个体创造的机构,都有能力决定什么是“自然的”。 随着时间的推移,这些构建的信念开始显得“自然”或“正常”,因为它们是流行的并且没有受到挑战。

那么,当波杰克拍裸戏时,就是对性别的“正常”一种挑战与抗争。

果真如此吗?

戴安不这么想。即使影视作品将女性作为欲望主体,究竟能改变什么?为什么必须是女性来对抗这一切?抗争是否一种精力的浪费?

女性凝视的电影给了女性自己是主体的幻像,而当幕布落下,她依然必须面对现实世界中的种种不公。

(戴安新发型好评)

波杰克并不理解女权,但是在第四集中,他却成了人人喜爱的女权主义者。让戴安不能理解的是,当她为女权发声时,没有人会听,而当马男说出同样的话,所有人都称赞他的勇敢。当名人说自己不反对女权主义时,又多少是出于政治正确,而不是真正的共情和理解?

这种双重标准让我不禁联想到国内对“田园女权”的指责:不知多少男性指责者真的就比所谓田园女权了解更多女权理论呢?

“谁在乎你怎么想,我说我是女权主义者那我TM就是!”

性别平权运动本质上是极其复杂的。

性侵或家暴受害者即使发声,也未必就能解决问题。比如,吉娜就是这样。

当马男发现自己对吉娜施暴后,他本来想坦白一切,说出自己做了什么,但是吉娜阻止了他。“人们终于通过我的表演认识了我,我不想成为那个被波杰克掐过脖子的女孩。我不想让你成为发生在我身上的最广为人知的事情。我不想让你成为人们在采访我时所有问题的焦点。我想让这事快快结束。”

她恨极了波杰克,但是她不想在公众眼中永远做一个受害者,而非一个演员,一个独立的人。于是她选择了沉默。

编剧曾被问及:很多在温斯坦之后发声的人并不一定那么有名,现在所有人关注的就是她们的被虐待经历,吉娜这个角色是否与这类事情有关?

他的回答是:

这非常可怕。我厌恶那些人,他们以为这些女性讲述关于虐待的故事是为了能够成名。没有一个例子可以证明那是可行的。我不认为这就是为什么有人会这样做的原因。事实上,完全相反,这是她们不这样做的原因。我明白为什么一个女人会想要对她的故事保持沉默,这是非常悲伤的。”

的确是悲伤的。她们生活在要么隐忍着痛苦,要么职业受挫还被人误解污蔑的困境中。

而从性侵者的角度来看,问题变得更加复杂。

作为一个马男波杰克的万年粉,我是喜欢他的,虽然他做过让人讨厌的事情,但是他毕竟是一匹丧得可爱的马。

这并不能掩盖他是一个施暴者的事实。

在第五季中,戴安对费尔伯特的批评也是我一直以来对马男波杰克这部剧的疑问:难道施暴者的内心痛苦就能减轻他的罪行吗?用这一点为自己的糟糕行为辩护是否正当呢?他们应该成为我们同情的对象吗(比如杀人的滴滴司机)?

戴安的回答是:看看受害者。看看萨拉琳,看看那个杭州女孩,她们已经死了。

这句话是残忍的,无论是对戴安还是观众。但是这是看马男时不能忘记的一点。

相比之下,陶德的支线故事就轻松愉快多了。但是他作为无性恋人群的故事,也提出了很严肃的问题:社会倾向于把少数群体无差别地带着刻板印象去看待,忽略了TA们也是立体的有个性的人。

陶德和尤兰达虽然同样是无性恋者,却除此之外并无任何共同点:一个充满不切实际的梦想,一个理性而实际,最后两人和平分手。

陶德提出分手

这就引出了交互性(intersectionality)的问题。

社会的压力来自各个方面,每一个边缘人的处境也不尽相同,所以,我们应该综合地考虑这些因素,毕竟少数群体也是普通人。


说句题外话,我也认识一位无性恋者。

我们在一个纽约州的小镇散步,偶然看到一户门上挂着彩虹旗的人家。她说:“看,gay flag!” 我随口说:“也说不定是女同呢。”

于是她问我:“这个问题可能有些私人,但是你是直女吗?”

“应该是吧,不过我还在questioning……” 我很惊讶,一是发现自己从来没仔细想过这个问题,二是好奇她为什么会问这个问题。(不过两年后的今天,如果有人问我这个问题,我可以很肯定地说我不是。)

“唔,我是无性恋。我从来没有对任何人产生过性欲。” 她平静地说。

我们从此之后不再那么频繁地见面了,尽管我非常喜欢她:她是我见过最喜欢猫和狗的人,管狗叫pupper,她还喜欢玩电子游戏和画画。她母亲是杭州人,父亲是德国人。她很可爱。

想到这些,我总是觉得很可惜:如果我放下那点可悲的矜持,如果我能更了解全部的她,那该多好。

2 美国的鸦片类药物危机(opioid cricis)

注意床头柜上的药瓶

波杰克此次的药物成瘾与此前纯粹的娱乐不同。第五集中PC在老家无法照顾片场,导致波杰克发生了事故,从楼顶摔下,摔伤背部。从在医院接受治疗时起,他才开始服用一种棕色小瓶里的止痛片。

疑似波杰克服用的止痛片oxycodone

如果不是参加过一次关于止痛片滥用的辩论并做过这方面的研究(当时的辩题是:是否应该像对待毒贩一样严罚开过量阿片类药物处方的医生),如果不是在夏校时宿舍楼里有人吸毒昏迷被送去医院,我也不会注意到这个细节。

在我们指责波杰克的种种不堪时,也不要忽略了这个(在美国)由来已久的严重社会问题:鸦片类药物泛滥(opioid epidemic)。

合成类鸦片类药物如芬太尼(fentanyl)和羟二氢可待因酮(oxycodone)属于针对慢性疼痛的合法药物,比如波杰克的背痛。这些药的成瘾率相当于海洛因,高于吗啡,但是却被广泛地通过正规渠道贩卖给病人。

“正规药物”

早在1996年,制药公司Purdue Pharma声称OxyContin虽然比其他止痛药强大得多,但由于其缓释化学配方而不那么容易上瘾。许多医生相信了OxyContin神话并受到制药公司提供的津贴的鼓舞(这些制药公司在2000年花费了令人难以置信的40.4亿美元的直接营销。)

在服用这些药物的人群中,百分之二十七误用药物,百分之八到十二产生了神经紊乱。药物滥用的症状包括:将阿片类药物与酒精或某些其他药物相结合,每日服用高剂量的阿片类药物,服用非法的阿片类药物,如海洛因或非法制造的芬太尼。这些症状波杰克都有了。

合理用量大约在三小时一粒,波杰克是整瓶往嘴里倒……

受害的不只波杰克一人。

根据美国疾病控制中心的数据,去年美国毒品过量导致超过72,000人死亡 - 这是由致命的阿片类药物流行引起的新记录。 疾病预防控制中心估计,2017年有72,287人因过量服用而死亡,比前一年增加了约10%。
根据新数据,大部分死亡人数 - 近49,000人 - 是由阿片类药物引起的。 最大的驱动因素是合成阿片类芬太尼,它杀死了超过29,000人,其次是海洛因和其他毒品。 越来越多的过量药物使得这种药物大流行比枪支暴力,汽车碰撞或艾滋病更致命,这些暴力事件在一年内从未杀死过多少人。2017年,每天有近200人因过量服用而死亡。

波杰克已经在尝试着戒酒,他却深陷于这些药丸中,如果没有那个事故,他本可以开始新的生活。

——真的吗?

自然,有他自己的问题。

他需要麻醉自己,这样内心才能稍微好受一些,但是无论是靠酒精,海洛因还是止痛片,他永远逃不脱的唯有自己。

"It's you."

他唯一能改变的,只有承认自己需要帮助。于是在全剧结尾,他去戒毒所寻求帮助。他终于做到了这件几十年都没有完成的事。虽然他自己也担心也许一切依然不会好起来,但是这小小的努力意味着他至少有可能恢复。

因为如果不能改变自己,至少也要直面。这是改变的第一步。

这一点适用于所有的瘾君子。

3 荒诞/符号学

想必大多数观众都对第六集中波杰的独白佩服得五体投地。

当马男平静地讲述自己在汉堡店的日常经历时,没人能猜到他此时是在母亲的葬礼上致悼词。他这种平静,不禁让人马上想起《局外人》的开头:“母亲死了,也许是昨天,我不知道。”

同样与加缪的《局外人》暗合的,还有这一集中数不清的让人心碎的荒诞:

母亲死了,波杰克的生活却一如既往,唯一不同的是他有理由对陌生人的客套说出自己的真实感受,还有汉堡店送的一份免费油条。

更讽刺的是,棺材里甚至都不是碧翠丝真正的身体,波杰克走错了葬礼厅。

一切都如梦一般荒谬,连葬礼是一场闹剧。而在马男充满闹剧的生命终点,又有谁会缅怀真正的他呢?死者已逝,生者也终有一死。母亲的死提醒了波杰克:人都是要死的,你是下一个。死亡就是生命无意义的最好的证明。

马男在讲台上对棺材说话:“妈妈,你有什么想说的吗?如果你为我骄傲,请敲一下棺材板。”他习惯了母亲的喋喋不休,仍然等待着回答——即使现在,他还在等待,等待着迟来的哪怕一点点母爱。意识到这一点,他愤怒对母亲喊道:我是你儿子啊,我只有你了!

然而所有这些痛苦与期待随着妈妈的死戛然而止,一切都突如其来,毫无道理。

这一刻的寂静是可怕的。

如加缪所说:

世界逃脱了我们,再次显现出自己的本色。那些惯于蒙面的背景又恢复了本来面目,远离我们而去。”

面对像我们所有人一样,马男想给每件微小的细节赋予意义。他的悼词围绕对母亲遗言的阐释展开:“有那么一刻,当一切突然陷入诡异的平静,她望向我说:我看见你了(I see you)。没有批评,没有失望,只有接受。”

这话既可能是对波杰克的认可,也可能是对空中马男父亲幻影所说的,更有可能的,是她在读重症监护室里ICU三个字母。

但最绝望的是,她已经死了,没有人会知道她到底说的是什么。

索绪尔的符号学提出,语言与由所指和能指组成。声音是能指(signifier),而其代表的事物则是所指(signified)。词语可以映射物体,就像当你说到苹果这个词语,我们自然就能想到苹果这一事物,因此一切都存在普遍的映射关系。

索绪尔理论
伊丽莎白一世在临终之时摸了摸自己的头,她这是在表达什么意思呢?她希望传达什么样的信息呢?这到底意味着她在指定詹姆斯一世作为自己的继承人,还是说这仅仅只是代表她死前正在头疼?
在这里,伊丽莎白一世的手势,就成为了一个典型的空洞的能指。它意味着某种东西,它生成了某种意义,我们认为,它应该在对应一个所指,它一定是有其内在的深刻含义的。但是,伊丽莎白已经死了,我们要怎么询问她呢?这个能指的意义又到底是什么呢?
意义,总是要经由能指链条的运动而得到的,或者简单来说,我们对意义的感觉,总是通过“解释”而生产的,因此当你提到一个能指,它其实并不会真正对应所指,它只会让你解释它自己,这个过程中你不断召唤出更多的能指,并形成了一个动态的能指链条。是能指链条带给我们意义的感受。
不过,能指链条也会存在扭曲和断裂的时候,比如那个死掉的伊丽莎白,在我们看来,死亡导致了她一生能指链条的断裂,让我们不能了解到她摸头的动作究竟在表达什么意思……每个人的死亡都是一个能指链条的断裂。”

碧翠丝的遗言也像伊丽莎白的手势一般,是这样一个所指链断裂。她的存在产生了缺口,她不再能解释自己的话,于是没有人能知道她在生命的结束时的所思所想。她是真的在读ICU的牌子吗?

在这个荒凉的世界上,人与人之间唯一的联系——语言,本质上也如此脆弱,如此不可靠,如此不堪一击。

从这个意义上讲,人注定孤独。

即使母亲没有死,马男也是无依无靠的。

费尔伯特编剧的办公室(E4),注意上图中红圈中的英文“尼采”和左侧白板上对尼采的引用:“你若长久地看着深渊,深渊也会凝视你。”以及下面的恶搞:“你若趁深渊心不在焉时足够快地瞟一眼,你就能将其尽收眼底。”

Credit:

1《谈谈女权和自由等问题》,来自公众号“后现代主义哲学”,作者阿月

2 维基词条”male gaze”(http://en.wikipedia.org/wiki/Male_gaze#cite_ref-mulvey1975_8-0)

3 编剧访谈http://variety.com/2018/tv/news/bojack-horseman-season-5-interview-metoo-netflix-1202941206/3

4 卫报关于opioid crisis 的报道:

http://www.theguardian.com/books/2018/aug/19/dopesick-dealers-doctors-drug-company-addicted-america-by-beth-macy-review

http://www.theguardian.com/us-news/2018/aug/16/us-drug-overdose-deaths-opioids-fentanyl-cdc

5 美国毒品监管中心官网:http://www.drugabuse.gov/drugs-abuse/opioids/opioid-overdose-crisis

6 加缪《局外人》《西西弗神话》

 4 ) 最难过的是没法说我爱你

看来前五集本来觉得这一季有点走低,还在想bojack怎么变得不愤世嫉俗了。第六集看得我泪流满面,这还是我熟悉的那个神剧!每次这部剧里有关原生家庭的描写都能引起我很大触动,可能我跟bojack一样,都是在原生家庭中被伤害过的小孩。

第六集整一集都是马男在母亲葬礼上的eulogy。马男的妈妈是个刻薄冷漠又神经质的人,对小bojack从来的都是打击嘲讽,所以长大后的他才这么愤世嫉俗,没有责任感,敏感又痛苦。Bojack人生中一个很大的课题就是想得到母亲的认可,就算在致悼词的时候他还在耿耿于怀母亲最后说的“I see you”是什么意思。从没被看见过的小孩终其一生都在等待着被看见。可惜的是母亲不会因为他的渴望而改变,最后等待他的还是失望。最痛苦的是母亲已经去世了,连这点等待的希望也终于破灭。冷酷的世界就这样告诉他,算了吧,你的父母不可能认可你赞许你,我想这可能是最悲哀最伤感的事之一了。

但是我最受触动的是Bojack回忆母亲跳舞的那一段话。Bojack的母亲会定期跟朋友们聚会,聚会的结尾她总会跳一段舞。这个时候平时总是酗酒暴躁的父亲也会停止抱怨,静静的看着妻子舞蹈,小Bojack也忘了对双亲的畏惧,感受着这一点“从溺水的生活中透气”的时光。舞蹈结束,生活恢复原来的样子,依然充斥着酒精和争吵,仿佛这一点心灵相通的瞬间从来没存在过。家人在一起就是互相伤害。

我想这是比“父母从来没看到过你”更痛苦的事。明明是因为爱在一起,明明心中仍有爱,但是我们却因为曾经受到过的贬斥和伤害把自己层层包裹起来,为了保护自己,同样用伤害回击给别人。家庭成了互相投射心灵最黑暗的负面情绪的场所,只有在忘了自我保护的时候,才散发出这一点点爱,就像砂砾中的金子一样,支撑着人继续忍受日复一日的痛苦。

每个被原生家庭伤害过的小孩可能都问过自己,“我爱我的父母吗?”。可能我们对父母的感情并没有那么纯粹,是一种复杂的多也深沉的多的情感。我的爸爸跟Bojack的爸爸有些地方有点像。他曾经离开了很稳定的事业单位的工作去做一个更自由的创作者。不过我从来没看过他的作品,他似乎也不是很在意家人的评价。我还能记得我小的时候拿他的书玩,他很不耐烦的呵斥我的样子。写错了一个字被他骂“完蛋”的样子。他也喜欢旅游,很早就走过国内的很多地方,但是他并不喜欢跟别人一起走,只喜欢自己出去玩。我有时候觉得家人的存在对他也许是种拖累,他本来可以当个更自由更快乐的人。也许是生活和家庭都不如意,他也有酒精方面的问题。有一次喝多了朝我扔一个很重的挂饰,差点砸到我。现在每次想到这个场景我都抑制不住的痛苦愤怒。但是我又永远记得我小时候刚上学的时候不会削铅笔,他就每次都削好十只给我带着,他的手指头很粗,削铅笔的时候却特别灵活,削好的铅笔头又长又细。我也还记得他带我到书店买凡尔纳全集,一边买一边得意的说:这套书很好看,你一定喜欢看。我写的东西,画的东西就算很糟糕他看到了都会很惊喜的夸我几句。我小的时候对他有很多怨言,总觉得他无视我的想法(就像很多中式家庭的家长一样)。长大之后稍微理解了他,他也有他自己糟糕复杂的原生家庭,虽然他从来不跟我说(可能觉得我的意见不重要,我毕竟永远是个“小孩”)。没人教过他怎么处理情绪,怎么表达爱,所以他只好像绝大多数代代相传的中国家庭传统那样,用挑剔,控制,打压表达爱。

虽然在一定程度上理解了他,但是我依然没法表达我自己的爱。想要表达的时候,总会想起我灰暗焦虑的童年,像一只战战兢兢的小兽,不知道什么时候就会被骂,只好蜷缩自己缩小存在感。又有时候跟父母展示自己,想要像Bojack一样被看到,但是得到的打击远远多过肯定。时时刻刻处在畏惧和恐惧之下。每当我想跟父母和解,对他们说些好话的时候,这个受伤的小兽就会提醒我它的存在,让我觉得和解就是对不起那个曾经承受过这么多痛苦的自己。所以我也继承了这个家庭里代际间的创伤,学会了说伤人的话,把爱包裹在层层的自我保护之下,用一种扭曲的方式表达出来。

但是也有爱闪耀的时刻,就像Bojack妈妈跳舞的时候那样。春天花开的时候,我们家总要一起去公园赏花,走在耀眼阳光下,缤纷花丛间,我爸妈仿佛也忘了相互之间的陈年旧恨,就像一对恩爱多年的夫妇那样,互相拍照,聊天,调笑,欣赏美景。我给他们照相,三个人一起大笑。这是我记忆里为数不多的鲜明的记忆。在那一刻在我们之间,没有伤害和痛苦,只有纯粹的爱意在流动。每次想起这样的瞬间我都觉得温暖,就算游玩之后回家他们之间还是会因为做饭之类的事大吵一架,搞得好几天不跟对方说话。也许爱的力量太强大了,抵得过许多次伤害,就因为这样闪耀的瞬间,让我可以继续在接下来灰暗的日子里默默忍受,直到现在。

我想这也许就是人生的意义之一,感受爱,给出爱。但这也是最难的课题之一。也许只有最勇敢的人才能宽恕,宽恕曾经伤害自己的人,无视可能会受到的更大的伤害,无惧的表达出最真实的感觉,对我们在意的人说出“我爱你”。所幸的是我父母还身体健康,我还有机会继续修习这门课直到毕业。希望有一天我能对我的父母说:我能看到你,我爱你。到那时候我内心受伤的小兽应该就已经不会继续悲伤了吧。

 5 ) 美国人的不可想象之处

老婆和她的玩伴总在看剧,我也耳濡目染了一些。经过我的询问和她的解答,我发现特别丧的剧都是美国人的。我很奇怪美国人的品味,难道真的是过得太好了吗?也许是爱看这些丧剧的美国人过得太好了,而过得不好的人并不喜欢看?也许是过得的确不好的人才喜欢,而过得好的人并不热捧吧。我觉得事情的真相很可能是这样:过得不错,但总要给自己找点麻烦的人,更可能觉得这个剧好。

其实这个剧给我最突出的感受,是它很像卡佛的小说风格。它介于两个卡佛之间。最初出版并走红的卡佛,是那个被编辑改过的卡佛,可以称作“编辑卡佛”,后来又出版了未编辑的卡佛,我们称它为“真卡佛”。这个动画剧的风格和品味,恰好处在编辑卡佛和真卡佛之间。灰色得没有编辑卡佛彻底,诙谐多过真卡佛,但比真卡佛沉重。它们的核心气质是一样的,就是美国人陷于生计的内容贫乏的生活泥潭,还有没人帮助的糟糕的两性关系和亲子关系。

先说两性关系和情感方面。在所有的美剧和卡佛的小说里,美国人的家庭关系的确和我们很不一样。一个人从他父母身边长大,一般就会脱离出来,所有的伤害都没有解决,只是掐断,然后他就组建他自己的两性关系,而且往往没能比他的父母高明。简直毫无提高,就是按照烂摊子的样子制造新的烂摊子。这种剧也是一样。

还有就是美国人的物质生活。之前读了一本考试用书,工程经济,里面讲了一些公司运作、财务管理方面的原理。我不得不注意到,公司管理的所有原则最终都会产生同一个后果,就是争分夺秒,把人的精力榨干、逼死。想到这些知识经验都该源自伟大富强的美利坚,美国人民的生活状况可见一斑。这个剧里表现得毫无差异。

但是我很不喜欢这个剧。角色在剧里根本没有尝试解决问题。有些人说角色在成长,在逐渐地改善自己的处境。在我看来,那些改进之处都是不痛不痒的。说他们有改善的人,好像忘了一个事实:如果角色的内涵和定位变了,就没法继续往下编了,就没法连载了,之前爱看的人就不会爱看,这可是商业规律啊。而且我要说,肯定他们的进步的人,同样也不能改进自己的生活。可能他们就搞不清楚什么才叫改进。

翻开两个卡佛的小说,我们读到的都是烂摊子,主人公收拾不了的烂摊子。那是一种沉溺,彻底的失败。这个马人也毫无指望。爱看马人的,觉得感同身受的,可能也毫无指望。何以爱看?自己的苦恼被搬上了银幕,想象着它能被很多人看到甚至理解,就获得了一种安慰。我不否定这种安慰的积极,但是,然后呢?无所谓了,继续上班赚钱、然后游荡、喝酒、聊天、回家在床上翻来覆去睡不着呗。

 6 ) 别看《马男》了,它就是块臭豆腐

这分钟觉得自己烂得像坨飞散的翔,下一刻又觉得世界就是个巨型厕所,自己也不是最臭不可闻那一坨,刚准备原谅自己,又发现自己罪无可赦。

可我就爱吃臭豆腐。

某姜每天的日常是这样:

写不出稿,啃会儿指甲吧。

写不出稿,看会儿资料吧。

写不出稿,这资料一点用都没有。

写不出稿,吐槽一下主编吧。

写不出稿,看看别人家公号都干了啥。

然后发现别人家公众号发了这样一篇文章:

这标题句式,吓得我绝经。

别说三十岁了,简直职业更年期。别说职业瓶颈了,简直职业宫颈癌。

这种时刻,向左看看,没有主编,向右看看,没有领导。

还是看一集《马男波杰克》自我疗愈吧。

这剧中的每个人,都写不出稿活得不好。

看到他们也过得不好,我就安心了。

理直气壮原谅自己写不出稿。

没想到,戴安一句话劈头盖脸:

我最后的退路也被堵死了。

《马男波杰克》诠释了那一句“生命就是时时刻刻不知如何是好”。

这分钟觉得自己烂得像坨飞散的翔,下一刻又觉得世界就是个巨型厕所,自己也不是最臭不可闻那一坨,刚准备原谅自己,又发现自己罪无可赦。

新一季依然如此。

每个人的生活依然一团糟,拿借口原谅自己的不完美,拿伪装掩饰自己的混乱无助。

这样一个故事,可不能让《环球时报》总编辑胡锡进看到了,不然又成了“臭豆腐”。

“臭豆腐”前因了解一下

《马男》还偏偏是“好莱坞”的臭豆腐

新一季,不丧了,也更丧了

胡总编辑百思不得其解的是,负能量怎么会有人爱看?堵得慌。

可负能量是《马男波杰克》的卤水。不用卤水点,不成臭豆腐。

而臭豆腐的卤水里,有冬笋、香菇、曲酒、豆豉……

都是好东西,只是泡的年月长了,就臭了。

像人,经历的事儿多了,就丧了。

随便品品爆表的负能量:

第一季“没用的老马”

第二季“人间不值得”

第三季“我有病你有药”

第四季“满脸写着高兴”

总是为人生找到借口,亲手打碎它,又拼好。

借口终于能暂时遮掩人生,但始终有道丑陋的疤。

这一季里,依然如此。

戴安去越南散心,像文艺女青年一样列出去越南的十个理由。

都爱说“说走就走的旅行”、“诗与远方”,其实大多数人是“不想工作”“我失恋了”。

其实不过“我离开你,就是旅行的意义”

文青般的十个理由全是借口,真相是你孤独了

波杰克被母亲虐了一辈子。

童年阴影

他曾经说,我俩之中死一个就好了。

这一季,母亲真的死了。他却发现,伤害没有随着生命而终止,反而变成了一个死结,永远无法达成和解。

第六集,他在葬礼上脱口秀了一整集,试图弄清母亲临终“我看见你了(I see you)”的含义,希望真的被母亲“看见”、重视。

却原来只是ICU(重症监护室)

凯洛琳公主,想起来洛杉矶之前的岁月。

本来应该是奉子成婚,嫁入好人家,考个公务员,在小城市里操心房价尿布奶粉。

命运却让她流产,注定她要来大都市。

但这么多年了,却回到了想要孩子的原点。

原来只是换了身衣服原地打转,还是在机场

时间把杀马特变成了啤酒肚,好像人只会衰退

很多人说这一季没那么丧了。

他们开始改变,开始成长。

我却觉得成长最丧。

小时候你觉得是因为你太小,所以无法解决家庭、学习工作、婚姻爱情等种种难题。

原来越长大越是死局。

成长是终于妥协,终于告别。

那些人,长大了,也变小了

为什么要看丧剧,看负能量呢?

连马男自己都吐槽:

看些无脑爽剧多好啊

我也只想看看人们谈谈恋爱

再看看人们谈谈恋爱

以及看看人们谈谈恋爱啊???

可是为什么还是要看《马男波杰克》,要看[江湖儿女]呢?

因为反而很多美满的故事,才是鸦片啊。

傻白甜的故事,吸完白光闪过,然后是一片空虚的贤者时间。

我和这些幸福的人儿,一定没生活在同一个宇宙。

不然为什么只有我活得这么难?

恰恰是《马男波杰克》这样的丧剧,挥舞着大棒,把我打晕,又用水把我浇醒。

让我突然醒悟:原来大家一样惨啊。

你加班,别人就不加班吗?

你写不出稿,别人就写得出稿吗?

我敢说,在社交网络上搞个“写手米兔运动”,一定应者众:

“我因写稿而头秃。”“我也是。”

在《马男波杰克》这一季季终,波杰克要戴安再写书,写他有多混蛋,以“认罪”,让自己的痛苦获得解脱。

戴安却说:

我们只是普通人,不是罪人

丧到头了,就会发现,人都一样,不分国界,不分种族,都不好不坏,一肚子苦水。

这样的负能量看多了,不是令人焦躁,反而学会慈悲。

把自己放低一点,缩小一点,不再把自己的痛苦看成天大的痛苦,而是全人类相似痛苦的其中一个碎片。

先知道“人生为何如此的艰难”,“有些事”才“不拆穿”。

谅解了别人,也才能宽恕自己。

波杰克问:

万一我清醒了还是混蛋怎么办?

傻瓜,当然还是混蛋。

成长是终于不再要答案了,终于接受人生无解。

即使改变了,成长了,痛感也不会减少半分,你只是学会了忍受。

心还是躁动不安,屁股还是如坐针毡,人也还是难以自处。

你只是学会了利用这种痛感,去成长,去和别人、和自己和平共处。

臭豆腐,更臭了,也不臭了

没捏着鼻子吃过臭豆腐的人,不足以谈人生。

小时候我是最讨厌臭豆腐的。

放学路上小巷口,油锅滋啦直响,就像帮臭豆腐的气味分子放炮仗助威,挑衅鼻孔。

这个时候,会有个扎双麻花的小妹妹捏着鼻子,跑远远再回头,冲着臭豆腐唱起来:

“臭豆腐臭,臭豆腐臭,臭豆腐臭豆腐臭臭臭。”

多年后,双麻花小妹妹长成了披头散发的老姐姐。

在加班写稿的深夜里,小摊上油锅的滋啦声怎么那么好听呢?臭豆腐升腾起来的热气里,怎么臭里带着温柔呢?

她塞了满嘴臭豆腐,落下两行热泪:

“真香。”

-

文:姜不停

文章源自微信公众号:电影解毒

 短评

相比前四季本季感觉略微不那么出彩,剧情上有些过于追溯历史,在恶趣味上有点过火(Sex Robot,女权主义…)。尽管也有在创意上相当出彩的E6、E7、E8,但整体给我的感觉还是多了几分压抑,而原因无非是剧中角色虽有正面积极的进步,但也被展现了更多的阴暗面,整体加和的表现则是缺乏进步,尽管这正是这部剧的“丧”的核心,但这一次在我看来还是有点失衡。

7分钟前
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Back in the 90s i was in a very famous TV show

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果然酒好不怕巷子深!重点是卖酒的其实一直在街上,是我住在很深的巷子里面。

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第二集看哭了,只是因为看到他搂了别人的腰知道再也回不去了,场景变化不变的是孤独,可是孤独也能一个人活下去。

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“你不能依靠女人,你不能依靠任何人,你迟早会学到没有人会照顾你,你不能依靠别人,你能学会这个道理是件好事,她能教会你这个道理说明她还是个好妈妈,事实上你很幸运,和大部分人比起来,你赢在了起跑线上。”

21分钟前
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和无耻之徒一样吧,越到后面丧的点越少,毕竟都在成长都在向着好的方向发展,本季有一集也说过,当没问题的时候就意味着要完结了。槽点就是金句变少无法满足我的截图欲。

25分钟前
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这个周末谁都不要找我 只想宅在家看bojack horseman

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你说你想变得更好,但你总不能说你心里没哀愁。

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好喜欢Princess Carolyn!有人说心疼她,但我觉得她是最明白自己要什么的人,她的强大不在于不怕伤害,而在于能擦干泪继续往前走。

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I see you. 第六集也太厉害了吧!

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I C U. I SEE YOU.

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第二集戴安在越南重新认识自己,第六集波杰克独角戏演绎丧逼一生,第十一集现实与戏剧难分,在迷幻中堕落。第十集波杰克:“我才是马男波杰克混蛋行为的最深受害者。”结尾还是我最爱的戴安独自开车远去,“生活就是生活,万分可悲。”

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我在黛安的每一帧里看到自己

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为了让剧继续拍下去,你永远不会好起来

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人们只记住了马男如何丧,告诉自己这样子是 OK 的,然后回到屎一样的生活里继续发霉。

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