The German drama "Diablo" made by Netflix has only three seasons, and it is clean and clean to seal the gods.
There are many works that talk about crossing, and "Diablo" is absolutely unique.
It is full of metaphors from music to picture, with a strong gothic style.
The story begins with the inexplicable disappearance of several children, and you begin to think that it is a suspenseful crime drama -
It turns out that it is indeed a suspense drama, but it is not a crime drama, because these missing cases are unsolvable mysteries.
To say that it is "unsolvable" is not to say that it cannot be broken, but to say that it is a loop that cannot be solved, a closed loop through time and space.
There are constantly people trying to open this ring and change their destiny, but after countless efforts, they find that everything they do is in vain.
Not a lot of characters, but a lot in reality.
Because the story contains the story of four families in five or six time and space, and even in parallel worlds, they of different ages walk through each time and space, and see themselves of different ages in different ages.
Not to mention that they often have different names and are in different relationships.
There are often "old" people in this time and space who go to see the "small" self of that time and space, and say that there is something in the fog in the clouds in a large section.
But you can't skip it, because as soon as you lose your mind, it jumps to another time and space, and what you miss is the key plot of why things become what this time and space are...
In short, I am on my knees for foreigners with severe face blindness, and I keep pausing during the process of watching the play, pulling back to the previous paragraph and repeating it again... Repeat and repeat.
But it's such a rather obscure thing that you can't abandon while you're confused – not because of chicken ribs, but because... Probably masochism is indeed a kind of chic cool feeling.
At least, when it finally gives you a happy and warm ending, you suddenly feel that all the darkness and obscurity in front of you has been swept away.
Can't help but sigh: Ah, finally finished reading; really... It's hard to put into words.
Give people interested in this drama a suggestion: don't stop, don't stop, see the end from the beginning in one breath, and then go to the Internet to find the interpretation of the strategy map; if you have time and still like it, two brushes, N brushes.
A brush, absolutely not to see clearly.
The brain hole is really too big.
Because I am not good at it, this article does not intend to draw mind maps or anything; it is still a personal afterthought.
Some micro-spoilers. But not very seriously.
Just want to talk about the three seasons of "Diablo" that touched me the most.
The first season of "Diablo" focuses on layout, opening up the story: the people of the town, mainly the adults (adult elders), find themselves and even the whole town are at the node of time and space change.
And what is happening now seems to be the result of years ago, when they were teenagers.
So they go back in time and argue about what happened in the past, even if they were happy before.
Sudden events shatter the surface of peace, and when the parents' generation wrestles together like a scoundrel, the children onlookers are stunned:
"You never know what kind of past your parents had."
Yeah, who hasn't been young?
Who hasn't had joy, struggle, calculation, darkness, fantasy?
It's just that out of selfishness and self-respect, parents are unlikely to tell you the details of their past.
What is occasionally said to you is a "story" through the filter.
Maybe they don't want to affect their image, maybe they don't want the next generation to go through what they've been through.
But when extreme situations arise (such as the space-time passage that exists in Diablo), children begin to resent their parents' insolence: if it were not for their parents' concealment, perhaps their adolescent pain would be less.
Between parents and children, whether to say or not to say, how to say, there is never a correct answer.
Eventually, through the time tunnel, the children see their parents in their youth, as if they see another self.
Unfortunately, they still understand the space-time closed loop that will happen, or repeat it every 33 years.
And in the end of the first season, the male protagonist even traveled to the future:
Is the truth about to come out?
Isn't it nice not to be so naïve?
Things are just getting started.
To what extent has the past fulfilled the future?
And going back to the past can change the future?
This is the main proposition of the second season of "Diablo", which expresses the paradox of time travel in an extreme way.
It is said that one of the most important rules of the crosser is that "oneself" in different time and space cannot meet.
And "Diablo" tore this code that no one knew had set.
The picture above is a middle-aged male protagonist vs a juvenile male protagonist.
In "Darkness", it is not only the male protagonist, but also a time and space.
The "crossers" are dressed in groups on a large scale; at the same time, the "self" of three age groups can be seen in the air at the same time...
But if you think that "Diablo" is a bad drama that goes back to the past and predicts the future, you are very wrong.
Why do you think the male protagonist is divided into three wanderings in time and space?
Because he wants everything to return to the original point, to the "normal" - even if the way back to the original point is that he is not "born".
Thus, you see the causal paradox caused by time travel:
The middle-aged self desperately mentions the juvenile self, what should be done and what should not be done,
He thought that as long as he avoided the pit he had stepped on, he could change the track without making the same mistake, and he would no longer have to endure the hardships he had endured from adolescence to middle age.
And the old self looked at the ignorant teenager himself and the middle-aged self who ran away, just sneering:
How can you not understand, if it were not for the middle-aged you trying to influence the teenager you, your life would not have become the old me I am now - everything is in vain, how ridiculous.
It's no longer a question of chickens or eggs.
Rather, each of us, because of the past, every moment of decision, every seemingly inconspicuous behavior, finally achieved "me".
This "I", until the moment of the coffin, cannot be conclusive.
In the play, the terrible thing is that there is more than one person who tries the same thing as the male protagonist.
So you can imagine that this time and space, which is dressed as a sieve, is moved by this person today, and poked by that person tomorrow...
This is fate, this is destiny: the so-called destiny is nothing more than a force that particles merge, intertwine, compromise — and finally converge.
Everyone thinks they can change something, but accidents create a more complicated situation:
My mother slept with her girlfriend's husband and son, so I fell in love with my aunt; the daughter of the policewoman next door gave birth to her, should she call her mother or daughter?
In this ridiculous closed loop of time travel, some people want to open the ring, some people want to continue, how does it end, what other incredible things have happened or what impossible things have happened but you don't know?
The problems of the second season have not been fully solved, and the third season of "Diablo" has thrown out parallel worlds.
The same set of people and horses, in another world, search up and down the same way.
The relationship between the characters is disrupted again, the end of the world is still coming, and the "loss" that people fear will eventually be lost.
If the first two seasons have been advancing the plot from the perspective of the male protagonist, then the third season has established the perspective of the female protagonist.
Two worlds, two paths.
One is to destroy everything, to disappear everything, and the "pain" will disappear, even if the price is loved.
One wants to keep the closed loop of eternal existence, and each person walks on the path he should take, so that he will not let the love disappear, even the pain will not disappear.
To this end, they constantly pull people into their own camps, manipulating the lives of "others" and even "themselves" in different time and space.
It is difficult to say who is right and who is wrong, and who can lead the people who have fallen into samsara back to the "right path."
Or, there is a third way.
In the third season, the male and female protagonists stand under the giant screen of "Adam" and "Eve" countless times, and then think about the cover poster of the show, the tunnel that travels through time and space, like a woman's birth canal -
You know, this story is really about human origins, about religion, about the concept of life and death.
They are fiercely hostile and eventually end up together.
Light and darkness are innately a pair; no one can do without anyone.
And their origins must be the same, like the original Big Bang of the universe.
As long as the source is cut off, there is no need to choose which method to use to "go to heaven" or "go to hell";
The stem is gone, and naturally there is no need for alternative answers.
And the best way to stop the time-travel paradox and the tragedies it causes is to prevent the invention of the machine that travels through time and space.
This final ending, some people feel a bit of a bad ending, because the front is too difficult to understand, this ending is too light, and flattering.
I think it's very good, elegant and popular.
The finale introduces the concept of "Schrödinger's cat", so it can be analyzed in a very complicated way;
But it's also particularly easy to understand – I think it could be the screenwriters waiting for me. Mercy of the crippled.
Moreover, the last small theater clearly tells you that all this is far from the end. #能分享一部你最喜欢的电视剧吗 #
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