当时无线五虎之一的梁朝伟，正是凭借着这部电视剧上位，并在苦熬多年后，成就了国际影帝。而梁朝伟对韦小宝的屏幕诠释，直到现在也是原著金庸最为喜欢的，由此也可以折射出梁朝伟对于原著角色把握的演绎功底。在众多影迷心中梁氏小宝之经典一直无人能出其右。在剧中与梁朝伟演对手戏扮康熙的是刘德华，虽然与梁朝伟相比刘德华的演技略显青涩，但也能将康熙的霸气和幽默喜感融汇贯通，被誉为“最帅”的康熙。

片名就是要蹭《越狱》的屁股（八月十五）之光。

对《越狱》没有情结，所以对于这些出自该剧的演员也无感。

其实开头的股票经纪人在中国出事被救，邀请医生夫妇到美国作客这段完全可以不要。

面对押解的警员内讧灭口，面对持枪指吓认人，那些囚犯直到囚车被开进池塘前还表现得镇静得不行。导演怎么调控演员反应的？这些群众演员也太对不起自己的出场费了。

一伙亡命之徒闯入郊野豪宅借电话云云，渲染了那么久，我以为三个“主人”会大爆发KO强敌，再去干背后的大BOSS，没想到三人那么弱。为了男主“重生”这个烂梗，居然到30多分钟才让他遭受致命一击，然后的反杀却并不是开挂，而是让人捉鸡又拖沓的过程，几个反派一个比一个无脑，也是服了编剧。最不能忍受的是，反派明明有多次机会杀死杀透男主，却偏要一次次放过。

搞得那么大阵仗，却原来只是一个《屏住呼吸》一样的悬疑片，几个坏人闯入了无辜小市民的家，小市民如何反杀保存自己。

为什么选用华裔男女主？想打通亚洲市场？可是总觉得这里面对华裔有着莫名的恶意，逃不脱的歧视意味。

反派女情色大诱惑，或露点演出，只是这脸真大妈。

最后居然居然要靠反派有人良心发现来终结惨剧。真是蠢爆了的剧本。

女主朱珠，知道她是因为其是尤文图斯老板前女友。红三代，父亲是商人，这一既得利益集团可谓庞大。像曲婉婷与她妈妈。

看到15集时再也忍不下去了，一定要来打个5星反驳一下那些给一星的，张天爱怎么演技尬了？配音怎么出戏了？旁白怎么就把观众当傻B了？张若昀怎么就不该接这个剧本了？本来就是翻拍怎么就抄袭了？？翻拍剧大家总是免不了会对比，这个虽然在所难免但作为观众还是应该跳出这个圈来不戴有色眼镜的观看，说张天爱不好的大概是观众自己跳不出她演的太子妃吧，（我个人对张天爱只是个路人粉，其实连粉都算不上，因为我连太子妃这剧都没看过）这个不是演员的锅演员不应该背，相反我还挺喜欢她剧里的人设，一点也不傻白甜，也很有杀伐决断，有能力的高级白领还可甜可盐，这到底哪里恶毒了？？还只配做恶毒女二？？那女二倒是不恶毒还傻白甜呢，那你们觉得很喜欢了吗？我没看过林依晨的原版，没资格说跟原版比差还是不差，但是单凭这剧本身来说，我觉得挺好看，人物的内心独白特别能打动我，而且句句扎心，多接地气啊，这是多少大龄未婚男女的心里所想和所面对的啊，我只感觉这就是真真正正在身边发生的故事一样，《我可能不会爱你》是台湾的，而且也是好几年以前了，但《爱情进化论》说的是现在大陆大城市里奋斗的男男女女的感情故事，多少有些不一样难道不应该吗？总之我很喜欢看，也会继续追剧，不管结局是在一起还是没在一起都是合情合理，因为芸芸众生，感情纠葛有千万种，无论哪一种都是可能的。最后，表白张若昀，看完这剧更喜欢他了。

结局了，说下总体感觉，女主太作，还有点婊（张天爱粉别喷我），修医生说这个女孩子不得了，知道怎么吊着一个对自己有好感的朋友，我觉得没错，女主吊着男一，又狂追男二，追到快修成正果了发现自己真爱另有他人又不要人家了，说有点婊也没太过份吧？不过谁让她是女主有主角光环呢，再婊也没有特别让人讨厌，谁让她是鹿飞喜欢的呢（调皮脸）

其实剧情整体还是不错的，只是过程中男女主的互动太甜，我觉得现实生活里真正的异性普通好朋友不会这样互动，啥头对头的充电，动不动就煽情的抱着说些鼓励的话，当然也不是说没有，只是还是少数吧，毕竟如果我是女主，我一个异性朋友这么对我我绝对绝对不会认为这是普通朋友之情，而且大部分人也不会让这么一个人只在身边做好朋友吧？结局两个人一人一段话让我笑了，特别符合社会主义核心价值观，哈哈，也仿佛是告诫大龄剩男剩女，多关注身边人，搞不好就是真爱啊，哈哈哈哈哈

看到好多人说不如原版好看，我没有看过原版，不知道如何。但是就现在所看的爱情进化论，除了前几集感觉有点慢，后面的还不错。毕竟不同的时代，剧的体现也不同，无论是剧中哪一个角色在现实生活中都能找到不少，非常的贴近生活，尤其是对有同样经历的人来说必定能达到共鸣，非常期待后面的剧情，值得一看。

非常好看非常奈斯的一部电影！尤其是适合毕业季的朋友一块观看！剧情很朴素！但是确是是非常的不错！画质很好！哪里该清晰哪里该设点悬念都恰到好处！男主玩卡丁车那会，其实预料到了最后的结局！男主的面对表白的答复，在意料之中，但是后面的结局，却在意料之外！他所做的事情，也在预料之外，但却又在情理之中！

Feel Good is a low budget 6-episode TV show which mysteriously skipped my attention when it was first brought up by a friend: probably because it features no big star (Lisa is one, but in a small role), and British TV shows like Fleabag and Killing Eve have raised the bar very high now.

However, one night, I started to watch the first episode and was very impressed. The not so sub plot of addiction is so well-written. I really like it when Mae (its main character shares the same name with the writer and lead actor, which is a bit confusing) expands the definition of ‘addiction’: ‘it’s all the same feelings, craving, and withdrawl, and relief, and obsession. We are just swapping one addiction for another’. By doing that, Mae Martin (I will use the full name when referring to the creator) connects the love story and Mae’s struggle to stay clean together. Mae Martin challenges the audience to view addiction as not only a struggle among a group of people, but something many of us face when being in a toxic relationship with partners, or, say, social media. By then, I am convinced Feel Good is quite good because the creators know ‘nuances’. Its focus on addiction also reminds me of Killing Eve S2, the key word for its 2nd season is ‘obsession’. While both handle compulsive/toxic feelings between people/people and object, Killing Eve’s take on obsession is disappointing, Feel Good, on the other hand, only gets better episode by episode.

Story aside, I am mesmerized by how the show introduces the love story to the audience. It is fast-paced. As Guardian remarks, ‘Feel Good moves so quickly and lightly that it seems impossible it could also be managing to construct characters and burrow into psyches as deeply and empathically as it does.’ You never need to fast-forward; it’s densely-packed but you won’t feel stressful; the plots mingle effortlessly. It takes 30 seconds for Mae and George to fall in love with each other. I love how unconventional and unapologetic it is. I love how an LGBTQIA (bless Joyce) story focus on how the two lovers enjoy their relationship (at least for the most part) without giving too much attention to how they are unsure if the other is into them, or suffering from loneliness because they can’t find a partner. Of course the loneliness issue exists and there is suffering, but there are many representations of those already. Feel Good shows how the relationship can be the start, rather than the ending, of a story.

I also like how the struggles of Mae and George are more about themselves making choices than them being in disagreement with a suffocating society. It is refreshing to see not only Mae’s parents, but George’s mother, support their sexuality. Mae’s gig pals don’t make a fuss about her having a girlfriend. The roommate Phil is an angel. The lead of the support group is a gay man; Lava is loved by her mother regardless of her sexuality. While Binky’s husband and his friends are ‘piece of shit’, I don’t see them as homophobic (I could be wrong though). The show demonstrates that everyone can and should be nice to LGBT+ community. I like how Feel Good doesn’t use societal approval as a trope; instead, it allows us to see Mae and George as individuals who make their own decisions. Yes, sexuality is and will be important in their lives, but they don’t let it to devour them, they can still breathe.

The relationship is beautifully written and wonderfully performed. I mean THE CHEMISTRY!! Yes there is sex. As Mae Martin said, she didn’t want the lesbian sex to be voyeuristic. I congratulate her in doing a fantastic job!! Feel Good has amazing sex scenes: they are romantic, witty, hilarious, and honest. The director and writers make sure the sex scenes are not about sex/lust only, they are also about female pleasure. Mae and George communicate and share their sexual preferences; they don’t force their fetish on the other, instead, they ask politely. The show doesn’t mystify lesbian sex: even lesbians can’t cum and that’s ok! Feel Good has achieved what Sex Education has done: it has educated people (older than high schoolers) how to have sex, and more importantly, how to discern when the relationship is going south.

There are nudity scenes and they are (quite literally) serving the plot: it is when Mae feels most vulnerable physically. The paradox of the physicality and the personality is, however, not restricted to gay people. Mae is struggling because she believes however hard she tries, she can never have George in the long haul because George is ‘culturally straight’. George, however, insists this idea is just in Mae’s head. (Or is it?) It becomes apparent that the couple is not on the same page on many things. Mae is shy but she wants public validation of their relationship: she wants to be blessed by George’s family and friends. George is popular (win the lottery) but she is ultra private when it comes to Mae. She points out her friends just want to crack a joke and emotions (mind, not sexuality), for them, is gross. Eventually, George will have to face her own real emotions. There is a moment where Mae questions why George never like/retweet her social media stuffs. As Fleabag says ‘Hair is everything’, the (non)usage of social media, I argue, is (almost) everything. This again shows the discrepancy between the couple – which, of course, is normal; in every relationship/friendship, such disagreements happen and that’s what makes this show so relatable.

It is interesting to note that the dynamic between the two flows all the time. I find myself on the side of Mae and then I am on George’s side! For example, the first episode shows Mae concealing her addiction history from George, which is a bit dishonest; but George also makes Mae think she’s already mentioned her to her friends while actually she’s dating some Crenshaw dude. I find it especially interesting that while George is portrayed as a cold person (she leaves Mae alone in a party; she’s rather cold towards Phil etc etc), Mae can also be quite aloof – check what she does to Lava. When she says let’s not share this with Maggie, it is as if George were saying let’s not tell my friends now.

Talking about George and her friends, I really like how the show does about their friendship. It shows that those friendships, even though ‘long haul’, are not necessarily genuine. Indeed, things can be tricky, if not scary, when friends finally choose to be honest with each other, right?

Binky’s husband and friends are hilarious characters, but the show makes sure not all the male characters are caricatured. I like Phil a lot; he’s giving me the neighbor who ended up marrying Hannah’s boyfriend’s sister in Girls, especially when he’s mentioning all the baby stuffs. Mae’s dad is a charming character; but I am not sure if he’s a good dad. His ‘Oh I need to check the garden’ is a specimen of dad type, who leaves all the dirty job of communicating with kids to mums. The show also inserts in a MeToo story plot where things turn sour quickly. In all, the portrayals of male characters are multifaceted. Well done.

Last but not the least: small roles. Does the show even have small roles? Because everyone shines. Even the shop assistant of that sex shop: the scene is so funny and captivating. Lisa Kudrow is funny but in a cold way – which is really nice. I am not crazy about her first appearance in the laptop; seeing her appear in Blackpool is a real surprise for me (and Mae). I love the scene in Ghost Train the most. Arguing in a horror house/moving train, with all the noise and terrifying man-makes while discussing ‘real emotions’, which is the most terrifying of all – what a genius idea!! The fact that the show keeps vague about why Mae is cast out of the family is an interesting one; I quite like how her mother points out her privilege and that she has everything she wants when she grows up. Again, the show is looking at the mysterious and intricate human mind that is not so easily explainable. Apart from that, I don’t think there are a lot of TV shows that discuss ‘privilege’. Kudos to the writers for highlighting this aspect.

The photography is really pretty. It, like TEOTFW, has a consistent tone, which is even reflected when Mae and George are in bed. Note the beautiful blue shadow. The music is nice. The costume looks comfy and lovely (never let the costume steal the show– I’m talking to you, Killing Eve). My favorite, as I said earlier is the pace of narration. Mae has run a lot and it is a signature of Feel Good, like Fleabag’s looking at the camera.

Feel Good is about a female stand-up comedian. In the States, there is The Marvelous Mrs Maisel. Both Mae and Midge suffer from a backfire from they using real-life stories with their partner (judging from S1 finale, haven’t watched S2 yet). It is interesting to think how personal the stand-up mateials can be, but having just watched Hannah Gadsby’s Nanette, I am reminding myself that in order to make things funny, the ‘truth’ can be compromised. While Nanette is almost metafictional when Hannah approaches/disconstructs what makes comedy, I don’t think that is the angle Feel Good is heading towards. However, it is still fit to think about the show amongst the powerful works by Mae Martin’s fellow female comedians. The freshness of the show also reminds me of Girls (with its minute depictions of modern female life) and Fleabag (with its candidacy about real emotions). Feel Good deserves more recognition and PLEASE CAN WE HAVE SEASON 2 THANK YOU NETFLIX!!