by JessieTsui
「敢爱敢做」是一档泛文化类社会观察播客节目。请注意，这档播客的突出特点为关注领域十分宽泛，话题转换尤为跳脱，输出内容相当主观。致力于在锋利和圆滑的区间内找到一块「仿真的自由飞地」。播客名源自林子祥先生的同名歌曲「敢爱敢做」。
Language
🇨🇳
Publishing Since
7/10/2024
Email Addresses
1 available
Phone Numbers
0 available
February 5, 2025
<p>《封神第二部：战火西岐》中邓婵玉这个角色，她是怎样在电影中被高高举起又狠狠摔下的。关于邓婵玉这个片中占大量篇幅和笔墨去塑造的人物角色，为什么前后半段的人物又塑造得十分割裂呢。看似被捧为主角的她，最后为什么连她的死也要被沦为工具性死亡。</p><p>在前半段的塑造中你能看出，她的世界观很大，能力很强，内核很稳。这是一个可以领兵打仗，作为当时国力最强的国家的将军的特质。就像邓婵玉所多次提到的，她是跟随父亲从小生长在军营的人，作为女儿身，生长在全是健壮男性的环境里依然能稳稳坐上第一把交椅。足以证明，对她来说，性别这个东西大多数时候在她的视角里，更多的时候作为一种不带鄙视色彩的属性，她的认知里人与人性别的差异就像是身高的差异，年龄的差异一样，是不带鄙视色彩的。</p><p>邓婵玉是临危受命，在老臣怀仲请退而纣王病重无法出征时，主动请命为国出征，请战西岐，这也是封神第二部，战火西岐的开始。</p><p>01:25 影片前半段邓婵玉是如何被高高举起的</p><p>06:27 凶手溯源：窥见创作者的司马昭之心</p><p>12:04 河岸压身戏：性勒索的漂白</p><p>15:38 水土不服的男女之情如何损伤角色内核</p><p>18:32 从「让他们唱」到「为我唱」：主体性的湮灭之路</p><p>21:00 邓婵玉的工具性死亡：虚假的伦理抉择</p><p>感谢deepseek与本期节目在构思和论证上的合作！</p><p>并在这里表示对大S徐熙媛女士永远的怀念，一位真正敢爱敢做的女性🕯️</p>
December 11, 2024
王铁梅 and 小叶 discuss the similarities and differences between their film 《好东西》 and the classic TV series 《欲望都市》, exploring what would happen if their characters swapped lives in a fascinating crossover scenario.
November 22, 2024
Singaporean student Chen and host share their contrasting experiences living in Singapore, discovering a country that's both safe and restrictive, with a unique blend of modernity and conformity.
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