鬼入侵第一季

整部剧经过后几集的填坑，故事线路大体是清晰的。经历未婚夫死亡的女主，通过了亨利招聘，来到布莱庄园任职家庭教师，遇到能看见死人的两兄妹，以及管家格罗斯，厨师欧文，和未来的爱人园丁杰米。在这里，兄妹两人知道湖中无脸女鬼的存在，想暗中保护新来的女主，因为上一任家庭教师丽贝卡的男朋友，也是亨利的司机皮特，被这个女鬼害死了。死后的皮特后面想和丽贝卡继续在一起，然后害得丽贝卡投湖自尽了。由于湖中女鬼怨念太深，以至于被她害死的人都无法逃脱布莱庄园，而且会一直陷入回忆循环中。死后皮特一直找寻办法逃脱这里，最后找到办法就是通过附身兄妹俩，必须要兄妹俩接纳自己进入他们的身体（这里前面剧情有说为什么要得到本人的许可）。但丽贝卡不愿意牺牲掉小女孩弗洛拉以及发现真相的女主，就放了女主。女主在出去寻找已经被附身的小男孩，刚好遇到湖中女鬼，即将被女鬼杀死之际，小女孩用她救了女主。女鬼抱着小女孩即将沉入湖底之际，女主愿意用自己的身体接纳女鬼，救下了小女孩以及解除了布莱的封印。在和爱人园丁杰米生活几年后，女主还是被召唤，自行投入湖底，不同的是，她没有害其他人。

几年前，鬼入侵第一季刚出来，惊艳了所有人，连我这个资深级恐怖片爱好者都惊呆了，太好看了吧！之后就一直期待着第二季，可是等到第二季终于来了的时候，一口气刷完，不禁一脸懵逼，我看了个寂寞！太难看了好不好！

在此温馨提醒，不要因为第一季太好看就觉得第二季也不会太差，我上次这么以为的时候，是釜山行，同样也是第一部超级好看，但是第二部就……一言难尽，这次到了鬼入侵，没想到也是这样！真的很难看！还没看的，千万不要看了！至少还能在心里保留一个鬼入侵完美的形象，否则这第二季，真的会让你对鬼入侵所有的惊艳都耗光！

与其看这第二季，我再重新看一遍第一季不香吗？同样是鬼屋，我去看美恐第一季不好吗？而且虽然后面的美恐都不怎么好看，但是连最最难看的第七季都比它好看！

拍了半天，基本上都没有故事主线的，乱七八糟拼凑在一起，就成了一个精美拼盘了？NO！是一盘散沙！

故事太分散了。又是女主跟男友的故事，结果男友亮着两只眼睛出来几次之后，把眼镜一烧，完事，再也不出来了；又是之前的女教师跟帅司机的故事，搞了半天原来帅司机被女boss无差别搞死，帅司机又把女教师搞死，之后想夺舍上小孩的身，又把女管家搞死；又是女管家跟厨师的故事，结果不过就是女管家在女老师来之前刚刚死，之后她全程都是鬼魂？她困在自己的回忆里，最后跑出去想救女主；又是叔叔跟老妈的故事，结果叔叔的精神分裂，似乎也没啥必要，不过是出小叔爱上嫂子的狗血伦理剧；又是女boss跟妹妹抢老公的狗血剧，竟然还演了整整一集；最后还有女主跟女园丁的拉拉同性剧，虽说感人，但是真的没必要那么长……

就这样，整部剧都被切割得七零八落，看似有一条主线，但完全都是散的，真的太难看了！还有小男孩学校的戏份，拍了半天，就是交代他退学，以及让他知道，必须要经过自己同意才能被夺舍……完全没必要！

而且很多我以为会有很好地展开的细节，就真的是，没啥卵用，就只是演出来给你看看而已，没多大意义。

比如那个小黑人，必须要放在桌子底下，后来还莫名其妙出现在小女孩床前的地毯上，还以为这个小黑人布娃娃会有什么作用呢，结果就只是一个布娃娃，不过是象征前任女教师而已；从一开始就动不动出现在镜子里的双眼放光的男友，还以为多牛逼多吓人呢，结果就只是出来溜溜弯，女主终于决定放下，把眼镜一烧，好的，哥们再也不出来了，所以根本就是女主的心理阴影不是鬼吧？那个有点像稻草人的诡异护身符，还以为会有什么古怪呢，结果就只是一个普通的护身符，就只是妈妈在和爸爸出去旅行前，给小女孩的护身符而已，虽然这次旅行后，妈妈再也回不来了。女管家点蜡烛，也就只是点蜡烛……

就这样，看上去仿佛很有戏，可以深挖一点的东西，结果全都没啥卵用，就只是给我们看看，故布疑阵，什么作用也没有。而所谓的女管家发愣，也不过是因为她死了，陷入回忆里了。还有小女孩动不动莫名其妙，也不过是被附身了，完全没什么惊喜，十分老套……

节奏很有问题，前面四集真的乏味到让人打瞌睡，到了第五集，稍微好看一点了，终于讲明白了，原来女管家早就死了，原来小男孩小女孩经常被附身，但是又出现致命bug！

既然女管家在女主来的时候刚刚死，那后面她是如何做到还能像正常人一样的？尤其是她还天天去点蜡烛！谁说鬼就不能做事情了，谁说鬼就不能到处跑，做这做那了？当然可以，只是在这部剧里不可以！你没看到帅司机连东西都拿不了，连人都碰不到，那么女管家是怎么做到的？大家同样都死了，为什么女管家还可以跟人谈恋爱？还能到处点蜡烛？唯一的解释可能是帅司机是被女boss搞死的，而女管家是被附身在小男孩身上的帅司机搞死的？那为什么前面的女教师也同样是被帅司机附身投河淹死的，没有像女管家那么牛逼呢？你知不知道你这么开挂，帅司机会气死的，哦，不对，他已经死了，是会被气活的！人家帅司机搞了半天，不就是为了跟女票谈恋爱嘛，你这直接可以谈，那人家搞半天白搞了？

本身这一季的节奏就很有问题，前面四集超级无聊，五六七终于好看点了，到了第八集，又讲了一整集的女boss的狗血故事，而且是解说型剧情MV，真的很没必要好吗？到了第九集，明明大家一起逃出去就可以结束了，非要又搞了几十分钟，非要让女主再投河自杀，女园丁怀念她，强行煽情，却只让人觉得是在凑时长！

而且因为人物太多，时间线太多，切来切去特别混乱，而且最好看的五六七集，一度因为时间线切得太离谱，搞得很多人完全都看不懂！

我能理解，因为故事本身太简单了，没办法，只能往外挖了，只能东拼西凑一大堆了，可是既然故事没什么亮点，就拍短一点嘛，何必搞成这样呢？我们最想看的，就是一屋子人在别墅里的恐怖故事，你动不动跑到学校，又动不动跑到叔叔公司，还动不动又回到女主跟男友的外景，到处切来切去，还有多少戏是留给这栋鬼庄园的？关键是那些戏份好像也完全没必要，一两句台词交代一下就完全可以的事，非要拍出来凑时长，真的很恶心。终于轮到拍鬼庄园内部了，结果又是女boss的时间线，又是爸爸妈妈和小叔狗血三角恋的时间线，又是爸妈死后前任女教师的时间线，又是现在的时间线，而且女管家的时间线还来回窜，哦，麦尬，真的头晕了……

就真的不是恐怖故事，而是爱情故事了。一大半都是在谈恋爱，他和她，她和她，全是在恋爱，而且好多狗血三角恋。可是我看爱情故事用得着看你吗？我看鬼入侵可不就是为了看恐怖故事吗？我……

综上，真的太难看了，一共九集的体量，非要塞进那么多人物那么多感情，而且都不愿妥协，不分个主次，每个人的故事都要讲上一整集！这样切割下来，主线故事当然不好看很无语了！而且很多看上去很有意思的小细节，感觉可以深挖一下，会很有看头的，结果就只是演出来而已，并没有什么意义；再加上节奏真的太差劲，而且很多完全没必要的剧情，让整部剧很臃肿；还有时间线的混乱，很多人根本都看不进去也看不懂！总的来说，真的难看得要死！

再次奉劝各位，还没看的，千万不要看了，真的很难看！对比一下釜山行第一部跟第二部的差距，和鬼入侵第一季跟第二季的差距差不多，就是这个标准。亏得我还以为，要坚持下去，看完肯定很好看，结果根本就看了个寂寞……听我的，真的超级超级难看，快逃！！！

我这个无论看书看电影还是看剧都几乎从来不看第二遍的人，看完突然又想把第一季拉出来刷一遍怀念一下了……所以这一季有多难看，能想象到吗？

如同最后一季所说, 在故事的一开始就错了...整个故事最精彩的部分基本都在最后一集...

感觉编剧是想一集一集刻画每个不同的角色, 奈何有点太过贪心反而模糊了想表达的东西...让我觉得有点抓不到重点...讲真如果真的是听故事的人, 大概中间就会睡着几次...

以下可能剧透..

而角色塑造方面...人设感觉都没有立稳, 或者说有人设, 但波澜不惊...dani一直都是体贴温柔的小可爱, peter一直都是阴险狡诈, jamie一直都是独立自主, Miles跟Flora不提, Hanna大概是唯一一个最后稍微有点反转的角色? 所以就算是花了交大篇幅企图建立的人设...也让我感觉有点...平平无奇...

然后是最后一集...评分里面的3分的2.5分都给在了最后一集, 作为爱情故事来说, 有80分, 塑造了比较正面的感情观 (当然于我也有姬佬加分项)...作为恐怖故事来说...既没有抽丝剥茧的过程感, 也没有当头棒喝的惊讶感, 就连恐怖元素也很...普通(不是太懂, 仅个人感觉). 但总归最后一集还是把这个故事完成了, 或牵强或煽情, 但这大概是我对这整个故事最深的记忆点了...

Btw.Jamie跟deni这对...虽然颜值都很高...但不太在我的cp点😬大概还是比较喜欢看老阿姨吧

鬼庄园 (2020)

7.7

2020 / 美国 / 悬疑 恐怖 / 夏兰·福伊 连恩·盖文 本·豪林 尤兰达·拉姆克 阿克塞尔·卡罗琳 迈克·弗拉纳根 伊万·凯兹 / 维多利亚·佩德雷蒂 本杰明·埃文·安斯沃思

01《鬼莊園》的整體格局小了很多

整個團體沒有之前的凝聚力，整體劇本就顯得沒有《鬼入侵》那樣重點突出的優勢。編導團隊的削弱或者說分化，導致《鬼莊園》的大綱到細節，都有了不同程度的削弱。

《鬼莊園》沿用了《鬼入侵》的大體流程——一位急于擺脫過往的年輕美國女子達尼，在八十年代的倫敦這個多元化社會中艱難求生。某一天，一位看起來還算小有資産的老板亨利雇傭她去鄉下莊園給自己家族的兩個孩子當住家保姆。

爲此，達尼風塵仆仆的跑到壹個相對封閉的莊園裏，見到了亨利的侄子侄女，以及爲莊園的日常運轉而生活在這裏的一群人，包括管家，園丁，廚子，牧師，甚至于帥得不依不饒的司機。

原本以爲可以在這座風光不錯的小莊園裏慢慢恢複自己感情傷害的達尼，卻發覺不僅僅是自己過往的那些愧疚越發洶洶的浮現，而且她身上帶著的秘密，似乎也勾起了莊園裏一些年深日久的恐怖，原本只是躲在陰暗裏的一些的陰暗往事，已經開始明目張膽的侵蝕莊園裏的人們，並且越來越接近兩個孩子的人身安全。

爲此，達尼需要在莊園裏分辨出哪些人是還沒有被侵蝕的正常人，然後團結起來，守護住莊園的平和，以及他們自己的人身安全。

02當觀衆都先知先覺下面該有鬼出場了，那還怎麽嚇人啊？

大體上，《鬼莊園》和《鬼入侵》走的一樣的古典主義的驚嚇路線，盡量避免使用血漿撲面的比較露骨的方式來營造驚嚇和恐怖，將著力點集中在色彩的渲染和環境氣氛的營造上。

可是，在細節的鋪陳方面，《鬼莊園》的驚嚇之處安排得比較明顯和松散，和講求明暗兩條線索的《鬼入侵》而言，嚇人的橋段太明面了，在劇情裏驚嚇的效果就會大打折扣。

《鬼入侵》的鬼影憧憧在于整體氣氛的充足，通篇是陰冷的冷色調，大量運用陰影來增強畫面的視覺遮蔽效果，就算是那種豔陽高照的晴天效果，也大量的添加了陽光下陰影的占比，形成陰影大于陽光的明暗比例，于是在這種視覺遮蔽裏面，不僅僅給人壹種壓迫性的危險潛伏的緊張感，而在于，劇情裏真的有很多鬼影存在這這些陰暗裏面！

在劇情發展的過程裏，觀衆隨時在提心吊膽，陰影裏會不會有未知的危險隨時准備攻擊！

而《鬼莊園》追求一種溫和飽滿的八十年代黃金時代的溫暖色調感，一直在營造一種蔥綠和橙黃色的基本色調。莊園外面是生機勃勃的英國鄉村風景，內部是原木色的內景，整體在燈光下呈現出一種溫暖的歸宿感，所以，那些陰冷環境裏鬼魂的運動，以及那些鬼影的出現，就因爲色調的突然變化，先期給了觀衆建立自我防禦的時間，驚嚇力度明顯削弱！

03如果驚嚇不足，妳得把感情張力做足。

作爲一部以驚嚇和恐怖爲主打的劇集，如果妳不嚇人了，就必須在驚嚇之外，做好十足的情感調配工作。

《鬼入侵》的情節構架渾然一體，用一個家庭在老莊園舊房子的鬼怪引力場的困宥中，掙紮求生幾十年的經曆，來構建一個驚嚇和感動並存的故事。

它的情節很標准——用一個家庭成員之死來做引子，然後，通過介紹各自困在自己生活裏而拒絕再度融入家族的家庭成員，來構建最初四分五裂的家族生態。

用了四集多的時間，構建幾位成員幾十年的積怨和相互之間的矛盾牽扯，在第五集突然反轉——一直作爲主要敘述者的小妹，在家族追悼會上發現原來死者是自己，而那個一直糾纏在她生活裏的面目猙獰的惡靈，其實是一直在咆哮呼喊的自己的靈魂——將整個劇情的情感沖擊力達到最強。

而後，通過小妹的靈魂試圖挽回事態的過程，進一步交代一家人爲何被老房子所影響，進而通過剩下的人想要徹底解決老房子裏惡靈效應的種種努力，構成後半段自我犧牲來拯救家族的主題提升。

而《鬼莊園》的故事相對松散，雖然故事主體還是一棟因爲年代久遠而堆砌了大量惡靈，形成了重力漩渦的老式莊園，但是裏面人物之間的情感聯系不強——畢竟是八十年代的純雇傭關系，主要人物之間保持了微妙的疏遠。所以，想要達成第一季那種爲了家人舍生忘死的情感張力，確實有些吃力。

而一旦這種內在情感失去足夠的說服力，劇情裏面其他很多方面都會大打折扣——同第一季一樣的多線性敘事，會變成炫技。雖然在莊園的引力場裏，不同時期的死者可以同時共存，但是他們之間的情感張力明顯不夠。于是，他們尋找自己身份，記住和發掘出自己已經死亡的過程，就顯得有些幹癟和多余。

尤其是，那種前期各種不合邏輯的現象的鋪墊，以及後來用來讓角色猛然發覺自己已經死亡的豁然開朗的結局展開，就顯得不夠自然和圓熟。

個人而言，《鬼莊園》比較英式田園，講究含蓄和美麗。它在構建整個環境的時候沒有准備把劇情做成驚嚇，而是想要做一個美美的情感故事。

于是，劇情裏大量青綠色的風光和溫暖的家居內飾營造出一種足夠溫暖的氛圍，讓觀衆忽略了這種溫暖的歸屬感裏面的驚悚成分。

鬼魂的設定過于保守，達不到嚇人一跳的面目猙獰，這種整體柔化的效果，使得中間那些靈魂輪回，曆史淵源一類的填充主題，就被這樣過于賞心悅目的畫面感給消弭了。太漂亮了，還怎麽嚇人啊！

史蒂芬·金的《小丑回魂》里有一个关键的设定：小丑会变成你最害怕的东西来吓你。你恐惧的，就是你在逃避的。

而《鬼庄园》在此基础上，更进一步。

你恐惧的，是你在逃避的，更是你疯狂追求的。

现实中这样的例子数不胜数，

我们总是愿意以“爱”为借口，最终却以悲剧收场，

“爱”是个不好把握的词。

因为太多人用“爱”去掩饰被鬼附身的样子。

真正的爱，是坦然接受，尽管终有一天失去所爱会经受痛苦，但还是值得努力去爱。

本人非常喜欢第8集关于Viola的盘白，文学功底深厚，此文作部分摘选，仅供欣赏

She would sleep.

She would wake.

She would walk.

She would sleep.

She would wake.

She would walk.

And time went by, how much time, it was impossible to reason.

Sleeping

Walking

Walking

And in time, as we all do, she admitted all. She admitted she was dead. She admitted her husband had moved on. She admitted her daughter was growing without her. And she admitted her room was a dream, a construct, a lie preferred, to the truth of the trunk.

But there waited for her, at the end of this purgatory, a reward in the knowledge that one day, the door would open. One day, the locks would see their keys, and, one day, Isabel would open her mother’s trunk and claim her rewards. Both of their rewards.

And day after day, night after night, an ocean of time, the moment finally came. When she beheld her husband, she saw not the changes wrought of time, only his sadness. only that. And so, overwhelmed, she slept and waited.

They buried Lady Perdita, and set about forging a new life. The business was empty, the manor was lost. If not in law, in spirit.

They would move away from here, sell the manor and find a quieter life, a smaller one, made only for two of them. The two of they, and also, Viola.

At least, at least, she’d be with them both. Her husband, her daughter. No matter if she couldn’t see her, couldn’t touch her, couldn’t hear her. No matter. She’d be with them, and that was all that mattered.

They were leaving Bly, leaving most of what remained of their belongings. Her reward for all these years of isolation, for all the ache in her tired heart.

But Arthur had grown a superstitious man, and had seen the horror on Perdita’s lifeless face.

His superstition defied reason, but felt confident all the same. Whatever curse had claimed his second wife, he would not risk his daughter to its icy fingers. His daughter, or anyone else.

The final insult of being cast to the swampy depths, while her daughter would grow to womanhood. This absolute abandonment. It shattered Viola’s heart.

The feeling of being pulled towards some other place, some realm beyond, had faded in the years since her death, but now she rejected it outright. With every ounce of her considerable will, as when she was sick, and against all probability, Viola would not go. The eldest of Willoughby’s daughters, once lady of Lloyd of Bly, remained, some would whisper, by stubbornness alone.The pull of that next world ignored, she instead made her own gravity, gravity of will, that would change the terrain of Bly Manor forever.

And once again, she would sleep. She would wake. And she would walk. As if woken from a nightmare, she would walk back to her home, feeling each time that it is a dream. Feeling that if she walked to her bedroom, to the room she once shared with her husband, her infant daughter, that perhaps the nightmare would abate, that she could simply slip into the warmth of blankets and nestle herself to the bosom of her family, waiting for her all this time. And she’d stare at that empty bed, and Viola would remember. And the remembering itself was injury anew. Her heart would shatter anew, burning in her bosom, a searing ache that she hoped would be quenched by the cold, muddy waters of her new manor, her new home.

Thus, she would sleep, and she would forget. Having forgotten, she would wake. She would walk. How many nights, how many walks, she could no longer count.

Her attention lay only ahead, only on the bed that was her goal, and on the daughter she believed, each time she woke, would be waiting her there. She didn’t even realize that a decade had passed, not even realize, after an outbreak of plague in the village, that the empty manor had become a quarantine for the coughing death that ravaged her former community.

“Where is she?” Viola asked.

“What are you doing in here? It isn’t safe. You mustn’t be in this wing without protection.” said the plague doctor.

“Where?”

As the plague doctor died, so he was immediately forgotten, and a strange phenomenon occurred. Her gravity, it seemed, her invented gravity that held her to the grounds, that kept her in purgatory, it would hold others, too.

She would sleep, and as happens when one dreams, she would forget. And having forgotten, she would wake. She would walk.

Viola faintly noticed her own attempted exorcism. And alas, poor vicar, the second person to find himself in Viola’s path.

She would sleep, forget, and forget, and forget. And with the forgetting, an ailment altogether monstrous.

All things fade. All things. Flesh, stone, even stars themselves. Time takes all things. It is the way of the world. The past recedes, memories fade, and so, true, does the spirit. Everything yields to time, even the soul.

Wake, walk, forget even more. Her name, forgotten. Her sister’s name, forgotten. As her memories left her, so, too, her face.

So little did she remember, that one night, she found a child in her daughter’s old bed, and could not remember who she had been hoping to see. She had only the faint notion that she’d walked this far hoping to find a child, and here was a child. It must be the child whom she’d sought. It must.

She would sleep, and fade, and fade. And others, too. Those souls held in her orbit, those unfortunates trapped in the gravity well she had made of Bly Manor. They were fading as well.

The eldest of Willoughby’s daughters, once Lady Lloyd of Bly, now just a thought, just a feeling, not a women at all, not a person at all, nor a name or face. Just need, need, and loneliness, and rage.

Her fate was a nightmare. A fate that befell all trapped at Bly. A fate that befell Viola’s once sister, now forgotten in the attic. Unaware that she’d ever had a sister at all, to murder, or be murdered by. A fate that befell anyone unfortunate enough to step into her habitual path. A fate that befell a poor valet, so many years later. A fate that befell even those who died of other causes at Bly, who found themselves in the grips of Viola’s gravity, even if never in the grip of her icy hands.No hope for anyone with the sad misfortune to die on the grounds of Bly. No hope for the victims of Bly, be the victims of fate, of vice, or disease, or of each other.