This weekend was actually very lively, with a bunch of new films and new dramas coming. I think you're already dazzled.
Among them, one of the most concerned dramas must be the next one.
That's right, after two years of waiting, the second season of "Deadly Woman" has finally arrived!
On the first day of broadcasting, more than 10,000 people scored 9.1 points on Douban.
I don't know, have you ever gone to see it?
Such a score, although not as amazing as the 9.4 points of the first season, but Lenovo's "Love Death Machine 2" that pounced on the street a while ago, after a few days of broadcasting, still maintained more than 9 points, which is already a very stable start.
Moreover, this score was maintained in the face of a major change of cast.
Yes, in this season, there is no Liu Yuling that everyone is familiar with.
The other two heroines of the first season, Jennifer Goodwin (as Blonde Beth Ann) and Colby Howell-Baptiste (as bisexual lawyer Taylor), are also all out of the cast.
I have to say that I really miss these three actresses with very different personalities and killings in the first season!
Back two years ago, that summer, the first season of "Deadly Woman" began airing, and the Douban rating changed from 9. 1 began to rise, and as the episodes aired, more than 460,000 people scored, and the ratings eventually rose to 9.4 points.
The three actors in the play play women in the 60s, 80s and 2020s, spanning more than half a century after the second feminist movement in time, and they carry the style of different eras and wrap up the ideological changes of three generations of women.
This change is even projected from the screen to reality, and Liu Yuling once set off a female aesthetic debate in China is a good example.
The topic and popularity of the first season were so high that on the day of the finale, due to user overload, a major domestic broadcasting platform was once paralyzed.
Of course, the finale of the first season did not live up to everyone's eagerness. The wonderful scheduling it presents not only realizes the time and space reconstruction of the story, but also allows the entire series to complete the sublimation of texture.
In the same house, three different eras are compressed into the same space, completing the three-layer space-time overlap of 60 and 80 with the current era.
This is a very clever time and space game, words can not depict its exquisite, it is strongly recommended that everyone brush the finale.
Judging from these achievements, whether it is the quality of word of mouth or the popularity of the topic, the first season of "Deadly Woman" is worthy of the title of the first divine drama of 2019.
All of this naturally raised our expectations for the second season.
With the lessons of the recent "Love Death Machine" sequel to the street, when I went to inspect the first two episodes this time, I was really a little nervous.
After all, without Liu Yuling, in the case of a major change of cast, can the glory of the previous work be continued?
After watching two episodes, I was a little relieved.
Judging from the quality of these two episodes alone, it is difficult to say whether it can surpass the first season, but at least there will be no big slide like "Love Death Machine".
The second season starred Alison Tollman, who played a policewoman in Ice Storm, and Lana Paria, who played witch queen in Fairytale Town.
Judging from the first two episodes, the story no longer proceeds in a way that advances three time and space at the same time, but pulls the time together to the end of the 40s, aiming at two women on this timeline who are at different ages, classes, and life situations.
Alma, played by Alison Tolman, is a housewife who is insulated from fashion, and her wish is to squeeze into a fashionable group of noble ladies and serve flowers and grass with them.
Rita (Lana Parria), as the central figure of the Fashionable NobleWomen's Order, is the main object of Alma's envy and flattery, and holds Alma's right to enter the Noble Ladies' League.
On the surface, Alma and Rita have only one relationship, but in fact, without the two's knowledge, they have another "dark line" connection - Alma's daughter Dee (B· K. Cannon) is Rita's lover's gun friend.
It's hard to say, but on closer inspection, there's a lot of information hidden in this dark line, and it also brings out another important female character, Dee.
The three women had their own thoughts, and this thought was undisguised from the beginning, desire, money, love, they were mad for these things, each of which could prompt them to raise a butcher's knife.
It can be said that this season has not been intended to whitewash the peace from the beginning.
"Fatal" has been revealed since the first episode.
At the end of the first episode, in the atmosphere of red wine and music, we think that Alma's husband who is a veterinarian is about to cheat on his female patient, followed by the drama of her husband cheating and his wife's revenge, who ever thought that this man recited the sabbath and gave the female patient a shot of euthanasia.
Stories, at critical moments, deviate from the preset tracks in our minds.
In this season, the first person to kill people is not a woman, but a man.
That's interesting.
Judging from the story era of the series, at the end of the 40s, it was in the gap period between the two women's liberation movements, and a new round of women's thought had not yet arrived. After the end of World War II, a large number of military personnel returned to society and needed a large number of jobs, so women returned to their families under patriarchal discipline and gave more jobs to men.
In the whole process, those who have the right to decide and choose are men.
Returning to the episode, we might see Alma's husband's behavior as a projection of the context of the times—men default to the right to make alternative choices.
And in the face of such a husband and such a concept, how did Alma choose?
From the moment Alma discovered the jewelry with the label, the sinuses in her heart were like a stripped sweater, and the more she pulled, the more she discovered her husband's secret, it turned out that over the years, he had euthanized dozens of patients in the name of kindness.
Alma struggled and she even went to ask for her daughter Dee's opinion. With Dee's comfort and encouragement, we thought Alma would choose to call the police, but in the end she chose to be complicit.
Moreover, she adapted to the collusive identity much faster than we expected, even faster than her husband had anticipated.
At the end of the second episode, Alma has been completely anti-guest, stopping her husband and making the decision not to call the police and bury herself in place after the neighbor eavesdropped on the conversation and fell to her death.
It's really damning. A woman who is preparing to kill her relatives and report her husband one minute before has turned passive into active in the next second, and has a tendency to become a mastermind.
Corresponding to reality, Alma can probably be seen as the kind of women who have received patriarchal discipline and thus become the defenders of the patriarchal system. The fatal place for such a woman is probably blindness.
Compared to Alma's chaos, Rita's mind is simply revealed.
She is bent on getting rid of her elderly husband, running away with her young and handsome little lover Scotter, and even hiring a private investigator to investigate Scotter in order to make sure she is the only one who is her lover.
Rita's strength and desire have wrapped her husband, lover, and Dee into this dangerous relationship, and there has even been an attempted murder of Rita.
It is conceivable that in the future update, these four people will definitely have someone to kill the machine.
The drama of Rita's line is almost the standard for the rich and noblewomen to fight for the inheritance, and as for the variables, I tend to close the trick on Dee.
Alma's daughter Dee, who currently seems to be the most normal of the three women, knows the distance between herself and Scotter, has the body anxiety and appearance anxiety of ordinary girls, and also has her own personality advantages, dare to say and dare to do.
She was the representative of the younger generation in the late 40s, growing up in the war with both resilience and courage. She clearly knew what the world matched her, what she really wanted, and the gap between the two formed a variable in Dee.s.
These women are completely different from the first season.
The changes in the cast and story form did not bring strong shocks to the series, but the theme and direction of the story were changing dramatically.
The first season uses a house in space and the betrayal of men in themes, which collectively point to the fatalism of generations of women.
And in these second season female characters we just talked about, what we see is the opposite of fate - change.
Yes, the women of this season are full of variables.
What changes them is the events they will face, the decisions they will make.
In the suspenseful opening, the original light comedy style is replaced by dark fairy tale color and the eerie atmosphere revealed from time to time, and we cannot judge the direction and ending of the story.
Like Hitchcock said, if the bomb doesn't explode, the suspense is there.
Suspense is undoubtedly an important driving force that attracts us to chase this season.
Like the brooch that Alma accidentally found in the horns of the horns in the first episode, it pulls out the truth about her husband's murder little by little.
The so-called stripping cocoon, that brooch is the silk thread that suspense finds for us.
Another reason to chase the drama juxtaposed with suspense is of course the strong creative team of this drama. This season, it is still scripted by Mark Cherry.
In his past "Golden Girl", "Desperate Housewife" and "Snake and Scorpion Maid", spanning decades, almost completed a unique female screen lyric.
The trivialities of everyday life, in mark Cherry's hands, can always turn into scenes of dramatic tension.
The most unusual actions that take place in the most everyday environments are almost the theatrical laws of Mark Cherry.
It is not surprising that a person dies on the battlefield, but it is very strange to die in the kitchen, living room, courtyard, and when we visualize "a person" as a perfect wife/model husband/intimate lover, this sense of weirdness and suspense will multiply.
It's like in episode two, When Alma's neighbor climbs up a ladder to eavesdrop, falls off the ladder, and is pierced by large scissors mowing the lawn.
Neighbors, courtyards, lawns, such everyday characters and scenes, actually present a more eerie and terrifying death picture than a horror movie.
This is the charm of Mark Cherry's plays.
Even if some people laugh at the story of his decades of immersion in family trivialities, even if someone will say that his plays seem old-fashioned. However, on our screen, such a plot is always playing out, always alive.
Times are changing, and so are women. In the endless ups and downs of the times, there will always be gaps in the story worth writing, and there will always be unique female characters.
And this is undoubtedly the reason why we are willing to chase this drama.