第三集本劇就經(jīng)女主之口對女性主義式解讀做了抗拒: “It's mostly about my being a girl. It shouldn't be that important.女主最后找到了她的“父親(Shaibel)與“丈夫(Townes)但她的“母親們卻似乎都永遠地遺失(死亡)了女主被男性發(fā)現(xiàn)崇拜走向巔峰脫離不了的是男性的凝視——她享受被Townes定格在相機的過程(這種“定格也是另一種層面的“死亡)而那位女性記者與她養(yǎng)母都被刻畫成沒有發(fā)現(xiàn)她真正的“美她“順風順水地成為了女英雄(整個過程也是老套的)但是是一位patriarchal heroine她的女性身份帶來的只是一種獵奇感對于劇中其她的女性個體來說死去東北往事第二季似乎才是真正的解脫
such a beautiful movie, with reserved yet powerful emotions. tangible history, really taught perspectives. love the parallels between the boy's futuristic space fantasy and the discovery of untold history. and perhaps we can learn from both.