什么事企业文化？难道就是专制文化，不作死就不会死。什么事企业文化？难道就是专制文化，不作死就不会死。什么事企业文化？难道就是专制文化，不作死就不会死。什么事企业文化？难道就是专制文化，不作死就不会死。什么事企业文化？难道就是专制文化，不作死就不会死。什么事企业文化？难道就是专制文化，不作死就不会死。什么事企业文化？难道就是专制文化，不作死就不会死。

任素汐和言承旭只能用风马牛不相及来形容，真不如王子川有感觉。同样是找男人，原本觉得离谱的《寻汉计》和本片一比，简直生活化的和真事一样。

言承旭本身太阳春白雪了。而周启文从任何角度看都是一个妈宝。女朋友收到别人的花就提分手，自己提的分手还要回台北疗情伤。矫情不矫情。无论是男女主的对手戏，还是和一帮兄弟的哈拉，这个人完全无法融入，总和大环境有一层隔膜。

自己兄弟的不当言论在先，还带着人砸场子。美其名曰想要给兄弟们幸福，那你倒是跟他们表明你的立场和态度啊。相亲时候一个个完全就是冲着捣乱去的，他们根本就是以为你是替他们出头来的。完全不表态，让他们自己悟。

陈然和周启文的关系的进展也让人匪夷所思，前一秒还不善言辞的周启文，突然就想要给陈然介绍对象了，然后又主动送早点，又蒜香小龙虾，和蔼可亲还样样精通。这和之前的表现完全不同，像是换了个人。在酒后乱性后终于确定把她介绍给自己的朋友。这个逻辑是怎么来的。我也不是很清楚。这种事连《半个喜剧》里的反派都做不出来。

而且在此之后，原本想要看着他们幸福的兄弟们的交友计划就完全不提了，变成了给另一个朋友介绍对象。前一秒还送外卖，买房子，后一秒就私人飞机所罗门群岛潜水。

任素汐和言承旭的对手戏就像是让人在市井烟火气和台湾偶像剧之间来回切换。十足的割裂感。同框的时候还好一些。如果是分开就完全连不上。最后的视频喊话，镜头的切换就像是你拿着遥控器在换台一样。

这几天追《魔道祖师》，从动漫到漫画，最终到原著党，从白天到通宵，从二刷到N刷，然后克制地告诉自己，每天只能最多花2个小时在《魔道祖师》上。??

今晚冷静下来，稍微自我冷静一下，研究这个IP火爆的原因！

先说动漫：

1. 画面精美、制作精良，基本可以达到“帧数狂魔”；

2. 大场景的设计气势恢弘，例如：或幽静如兰的云深不知处、或狂狷邪魅的大梵山天女格斗、或温柔婉约的江南水乡古镇，每一处大场景都像名家大作；

3. 敲黑板，重点来了…… 当然就是每个小哥哥的盛世美颜喇！?????? 但凡不这么美，也不可能让大家着魔到如此癫狂之态喇！又美又糖又萌，完全没有抵抗力啊！??????

4. 不仅人美，人设、台词、情节都尽量做到了忠实原著，这也是原著党表示满意的地方。这里各位优秀的声优功不可没！观众基本听台词就把这个人物的人设能猜个大概。

5. 动漫改编剧情紧凑，情节推进张弛有度，摈弃了一些细枝末节，每一集都很有尿。（至少目前4集都这样）

然后就要说到小说本尊火的原因了。

1. 作者脑洞大开，在一个架空的世界，完美地演绎了一出传统正道修真、剑走偏锋的魔道修行、“虽修非常道、但行正义事”的纷繁纠缠、光怪陆离、恢弘磅礴的恩怨情仇，同时做到了格局宏大，人物多却不乱。

2. 作者的文笔流畅优美，对于每一种修真修魔、人物性格、场景描述都刻画得入木三分；

3. 再次敲黑板... 本书的精髓和主旨：我见诸君皆有病，料诸君见我应如是。看了几集动漫的人肯定会想，究竟发生了什么，一个颜值榜打榜第四、天资聪颖、天天打山鸡还能拿第一的小鲜肉怎么就变成了人人得而诛之的“魔道祖师”？看完原著小说就明白了。站在大众这边的时候，你就是一代枭雄、奇才，哪怕你还有点鬼才，但大家是能允许你的存在的。但是几大家族，牵一发而动全身，因为各自的私心、利益的牵扯，你终于桀骜不驯地发出了不一样的声音，说了“大家都觉得不该说的话”，你就会顷刻变成众矢之的，说你罔顾人伦，所有丧心病狂的事情第一个联想到你。你说你只想“偏安一隅”，在他们看来那叫“占山为王”，你以为你可以独自逍遥于世外？对不起，大社会容不下异类！你被pick了，被百家集体讨伐，把你挫骨扬灰才是“正道”。

4. 第三点看上去是不是很操蛋？别吐血，当你拨开迷雾，探索每一个“反派”的故事，你才发现，善恶因果，没有一个天生的恶人，没有没来由的恨，事出必有因，所有人都只不过的浪潮裹挟的牺牲品。最终，你不原谅他，但却理解了他。

5. 特别打动我的一点：年少定情，时光很慢，从此一眼万年。从前世到今生，大家一起经历、一起成长，蓝二哥哥对羡羡始终默默的付出、痴痴的等待、深深的爱意，最终修成正果，只羡鸳鸯不羡仙，互为“秀妻狂魔”。????

试问哪个女人会不想要一个这样的“蓝朋友”！我又说多了！大家要多笑哦，可爱多了！??

With a helicopter circling over two abandoned boats in the ocean, the floating corpses at the beginning bring about a total recall of the migrant/refugee crisis in the 2010s. Also coming by boat and ending their lives in the ocean, the Asian refugees disappeared into the void zone amidst the world of boundaries. In the Suspended Step of the Stork, Angelopoulos gives the most poetic depiction of the most powerful socio-political force since the twentieth century: the border. The “stork” is a metaphor for human beings, the very moving agents, and the “suspended step” shows none but the modern plight of human beings in the face of their own creation – “One more step, one will be somewhere else. Or die.” Hence the title of the film, in its most frightening and saddest meaning.

The film revolves around two central characters, a former Greek politician who now lives in despair and incognito and a documentary director who wishes to capture the condition of refugees. Their storylines intersect in a town near the border that separates Albania from Greece, named by its locals as “The Waiting Room” as thousands of illegal emigrants wait here until the Greek government allows them to leave. Although the name of the town suggests its temporary nature, it is indeed the temporary home, if not a permanent one, to the refugees. Here, the uncertainty about how long these illegal temporary residents would actually stay in “The Waiting Room” hints at the ambiguous distinction between “home” and “elsewhere”. Although they have successfully crossed the borders, they are still left in a self-contained “elsewhere” made by borders. How many borders do they need to cross before they reach “home”? It is with this ambiguity that Angelopoulos is able to raise his central question in the words of the documentary director. “When does one decide to leave? How? And where to?”

Among those stories in “The Waiting Room”, the most impressive comes from the wedding between a Greek bride and an Albanian groom, taking place on both sides of the river which divides not only the two countries but also thousands of families. The wedding is gently shot with a silent long-take yet with an extremely powerful tension. It shows a figurative dimension of the separation created by the borders, for they are not only dividing people physically (by setting geographical boundaries crossing which one will die) and politically (by providing new meanings and aspects of one’s identity) but also separating one’s present from his or her past. The bride says on the eve of her wedding that, “My husband and I grew up in the same village. One night he’ll cross the river and come take me.” This is largely a shared story among those thousands of refugees in the town. By leaving their “home” and crossing the border, they also leave their past behind. Here, the border is both a deadly frontier that divides wives from husbands and a ruthless boundary drawn within one’s personal experiences. With this assumed dimension, the audience sees how the means of life are made possible in an extreme condition where the ends of life no longer exist.

It is only in light of this dimension can one fully understand the other half of the film, the Greek politician’s disappearing by crossing the border. While all the majority keep their steps suspended in the air, waiting to be accepted to stay or be allowed to leave, he takes a step forward to the “home” at the cost of his past and identity. A believer of the universal ideal of brotherhood, he presents a more despairing yet hopeful interpretation of the “Storks” by embracing the collective dream and taking actions accordingly. And this action, risky and idealized as it is, might also be the answer that Angelopoulos will offer to his earlier question(s), and with this assumed attitude, one may find Suspended Step a work with stirring idealism, intense seriousness, and great courage.

全程反派有脑子有实力，主角啥都没有，关键这样反派赢就赢吧，还能靠主角策反对方阵营的方式来逃？将军的脑子旁若有坑，跑起来很快的那啥恋爱脑女，自己作的非得别人给她承受报应。全程看到辛德一个人有脑子有武力，秀全场，怎的赛伦不行了？penny死了一次又死了一次，得亏parray（不太会拼了）不会复活，不然是不是还得死了活，活了死？

从结果上说，万合延续了其成名作《万万没想到》一季不如一季的势头，再出烂片。虽然标榜所谓的“新萌幻”想靠独辟蹊径翻盘，但结果只让人觉得全片逻辑散乱，人设乱变没特色，剧情幼稚可笑，适合低龄小众观看。

全片56集，剧情极其拖沓，剧集全靠为了恶搞而恶搞，与主线、支线剧情都无甚关联的无厘头镜头拖时间。男女关系非常之可笑，归根结底完全是生拉硬套拉郎配，靠着没完没了的各种硬扣上的误会勉强推进感情戏，能看出编剧想套用如大话西游、武状元苏乞儿之类的桥段，但只是东施效颦！再说些情节上的硬伤，礼部尚书能贪污到军饷！一个小混混随随便便就能出头顶下屠杀两国使团的罪！开头气势恢宏的扯上天人妖几界兴亡，结果后来出现的各种逗逼妖满打满算不到30只，真人演的妖不到20，自什么妖王妖后往下一个比一个弱。

接着看人设。男主角一个直男晚期，一个贱货无可救药；女主角一个朝三暮四反复无常，一个喊着真爱永远结果认不出自己丈夫，一个逗逼女不管自己的国家不管给皇帝戴绿帽子的危险一天到晚搞初中生那套儿童恋；反派在此片完全不重要，别人手上的棋子和装逼货，没有编剧导演罩着分分钟被人灭团；各种配角倒是比主角有戏，老包有情有义能逗能正，老鸨戏精上身颇有石榴姐当年风采，皇帝似傻实精带着港剧无厘头的本色。

全剧标榜是武侠，实则是矫情的偶像剧套路，导演编剧也是把8成的精力都放在描述他们所谓的情深意重、艰难坎坷的感情上。一个无良痞子愿意为花魁倾家荡产就叫感动？拿喜欢自己的姑娘母亲的遗物去泡别的妞这叫感动？你换个位思考下，街上装可怜骗钱的乞丐拿骗的钱设计个浪漫场景去追女明星，你觉得这感动吗？一个人跟你说我送你最贵重的礼物是一个追我的女人她母亲的遗物你会觉得感动能坦然收下？那个妖后整天叫唤对妖王矢志不渝，结果连自己丈夫都认不出，说妖王出场戴头盔，别人不知道他本来面目你也不知道？什么鬼设定！人类侦查妖气用风水仪，你妖族自己感受不到？女主角实在懒得多言，人设从开始就是崩的，所有的感情都是靠嘴说的，演员一点真情实感都没有，山寨的苏乞儿的套路根本就是毁经典。至于那个啥公主，前面说了，和亲的公主致家国天下不顾搞小女生的那一套根本不足予评。

靠着各种尴尬剧情竟然生生拖上50多集，竟然还有水军冒出来说什么剧情紧凑，情节精彩，赚钱也赚的太昧良心了吧。各种尴尬人设我也不想指责喜剧片的三观不正啥的，但你连人性都泯灭实在无语，竟然还有感慨感天感地眼里进砖的，不愧是水军，眼洞往里灌水灌的满满的。

万合想翻身用点心好好拍片子吧，好片子不是靠水军，要靠实打实的品质。