让一个侦探剧，要如同《第一滴血》一样体现越战老兵的沮丧和彷徨，要像《廊桥遗梦》那样反映夫妻间情感纠葛，要像《为奴十二年》一样反映种族歧视，还要蒙太奇，还要各种插叙，还要意识流，魔幻现实主义，结果，一个丢孩子找孩子的题材，明明很容易产生广泛共鸣、很容易制造人性纠结、很容易刻画多面人性，被上述这些东西掺进去后，完全变味了，四不像了，葱烧豆腐里面放了山西陈醋了，奶油蛋糕上抹上臭豆腐乳了。为什么不去学学英剧《失踪》，第二集就找到了孩子曾被关的地下室有孩子在墙上画的画
想到一首很喜欢的诗歌
Love After Love
The time will come
when, with elation
you will greet yourself arriving
at your own door, in your own mirror
and each will smile at the other's welcome,
and say, sit here. Eat.
You will love again the stranger who was your self.
Give wine. Give bread. Give back your heart
to itself, to the stranger who has loved you
all your life, whom you ignored
for another, who knows you by heart.
“真探 第三季”反程式化的惊喜
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