疼痛难免

这应该不算剧评，就是我自己没有逻辑的碎碎念，可能是因为刚看完趁热话比较多，字数超了，以下仅为自己存档用。

2022开年看完的第一部完整的剧。

配乐，画面，剧情等方面在三星和四星间犹豫。

剩下的完全由本威尔肖补齐。

三星与四星的犹豫是因为我也无法确定这样朦胧的一切尽在不言中，需要观众意会的，最后只在听众会中说出的几句话是否会有些不痛不痒。

但是想想好像撕心裂肺的表达也不太合适。

英国人嘛。

导演也很巧妙，很喜欢前几集中Adam下班后昏沉的色调以及他在晚色中的剪影。

医院的一切血腥，人性的复杂，就连妇产科带来的新生的喜悦都在镜头下变得像伦敦的天气一样阴沉，当然也有可能是滤镜的缘故。

很喜欢其中的一些英式幽默。

Adam在剧里表现得非常混蛋，但我又被本身上的那种脆弱感吸引。

他受的罪越多，我就越兴奋（。

关于自杀，想起了罗英锡在自己的书里说离开大公司选择从新开始就是因为不愿看到在一个成熟的体系中不断压榨着新人付出成倍的精力而得到结果。

虽然他们是搞内容的与医疗体系不太一样，并且还有全世界医学生一样苦逼的现实。

最后，很喜欢疼痛难免这个译名，再次感叹字幕组永远的神。

仿佛与“偶尔治愈”做一个呼应。

作者对于公共医疗体系中的一些观察在我看来如果用“绝对笑喷”作为这个作品的标题实在有些轻浮。

以及把人家老公强行改成女朋友这种操作，缺了大德了。

真是大型恐育+医疗职业劝退现场。

跟《机智医生生活》《问心》这些剧相比，《疼痛难免》展现了一种稀少的祛魅的职业剧面向，即非爽文式的、个人英雄主义的、宣扬职业光谱的现实主义叙事。

它毫不留情地揭示了公立医院的系统性不平衡和医护人员的结构性困境。

打破第四堵墙的设计，更是把吐槽、诟病甚至批判直接怼到观众面前。

剧中的主角毫不天才，也绝不机智，反而在天天兵荒马乱的环境中勉力工作，偶尔犯浑、常常愚钝、总是添堵。

他身上有太多普通职场人的影子，让人更能在他面临抉择和考验的时刻产生深深共情。

抛开医疗题材，高强度、超负荷、工具人式异化、意义感缺失、狗屁上司、难缠客户、微薄薪水、模糊上升渠道......许多人的职场都像这般密不透风的shithole，而来自社会的、生活的、他者的、关系的、层层嵌套的惩戒还常常从天而降，让人无处逃遁。

人每天都是破碎的，仅凭着职业良知用爱发电，任谁能完好无损地重整旗鼓返回日常？

正如主角亚当在同事舒迪葬礼上所说：“她并不认为自己有所成就。

因为在这样一个烂系统中继续工作，怎么看都看不到光明的未来。

”只是希望在如身患抑郁症的舒迪一般全面溃败垮塌前，更多人能像遭遇职场PTSD的亚当一样，即便伤痕累累，也依然在人性升起的瞬间心中有火，眼中有光；即便年代下沉、道路坎坷，望向远方时，依然拥有继续向前的力量。

你有没有某个时刻意识到生活正在坍塌。

不是出现了世俗意义上的大灾难，世界哐当碎裂开砸你头上那种。

而是某个瞬间，当你抬起头时，觉得天空离你好像比昨天更近了一点。

在此之前，你虽然感觉到生活压得你喘不过气来，但自己应付的还算可以吧？

从这一刻起，你无比清晰地看到纠缠在自己身上的无数麻烦。

那是你的藤壶，你的菟丝子，它们长着一张柔弱又不打紧的脸，却一刻不停地吸吮你灵魂的营养，企图拖着你一同死去。

你感到自己的心在慢慢死去，尽管一切看起来一如往常。

你的家人朋友爱人都还在为你提供情感支持（当然你们之间的问题也依然存在），但这些好像都没有帮助。

外部在向你输送营养的同时也滋润了那些寄生虫似的麻烦，把它们变得更为强壮。

对于关心你的人们提供的支持你很难回报，事后总结起来，你做的所有事不过是用其他人伤害你的方式伤害他们，并让他们持续为你担心。

直到有一天，某个你尊敬的人或者是你自己突然点醒了你，搞砸一切的其实是你自己。

你愤怒你委屈你痛苦然后你意识到，ta说的全对，而且在很久很久以前，你就在为今天的崩溃做铺垫。

你以为自己应付的不错，至少有80分的水准。

但其实只是过去的你向未来透支了分数，导致不及格的局面直到现在才出现。

于是你抬起头，越来越近的天空终于压到了头顶上。

你想放纵，想逃避，想一烂到底，但这些都不行。

每天你睁开眼都忍不住要骂一句，淦，他们为什么要给失败者也颁发奖杯。

是的，胜利女神不止会亲吻胜利者的冠冕，还会给失败者颁发不可逃避的奖杯，俗称烂摊子。

失败者的造物也不会自动消失，它会日复一日地站在那里，彰显着你的失败。

你觉得很痛，你感觉很坏，你想好起来。

你只能一铲子一铲子地挪走挡路的渣土，企图在你昨日坍塌世界的废墟上开出一条路来。

未来或许会好吧，尽管失败的勋章还在原地，尽管有些人有些事已经到了无可挽回的地步。

你别无选择，尽管你feel so bad。

Episode 1Nobody But Me – The Human BeinzAdam walking through the hospitalKiss with a Fist – Florence + the MachineAdam receives a call on his beeperWicky – HooverphonicAdam leaves the hospitalThe Tearjerker Returns – Chilly Gonzales & Jarvis CockerAdam performs the CaesarianThe staxte We're In – The Chemical BrothersAdam goes to the strip clubEpisode 2Trouble – Ray LaMontagneBeginning of the episodeMusic When the Lights Go Out – The LibertinesAdam goes to bedEverything I Am Is Yours – VillagersAdam leaves the hospitalEpisode 3House of Cards – RadioheadAdam returns home after dinner with his motherLet's Dance – M. WardAdam and Harry go to bedThe Tearjerker Returns – Chilly Gonzales & Jarvis CockerShruti leaves the hospitalMy Autumn's Done Come – Lee HazlewoodAdam and Harry speak outside the churchEpisode 4Toothpaste Kisses – The MaccabeesThe doctors get ready for workThree Little Birds – Bob Marley & The WailersMs Houghton singsHouse of Jealous Lovers – The RaptureAdam and Harry go clubbingThe Way I Feel Inside – The ZombiesAdam and Harry danceEpisode 5Remember Me – British Sea PowerAdam sees his first patient of the dayHands Around My Throat– Death in VegasShruti sees a couple trying for a babyDiving Horses – Death in VegasShruti tries to eat her lunchDirge – Death in VegasShruti goes up to the neo-natal wardModern Romance –Yeah Yeah YeahsEnd of episodeEpisode 6Fake Empire -The National Heartbroken Adam does his first shift at a posh private hospital and finds that it's not all it's cracked up to be. Shruti has a challenging night shift on the NHS WardSignal and Sign by Maxïmo ParkBorn to Cry by PulpOriginal Song that plays as Adam gets used to private hospital lifeEpisode 7 The Book of Love by The Magnetic FieldsOriginal Song that plays over the end credits

《疼痛难免》《This is going to hurt》我可太喜欢小本的气质了，这部剧里又软又丧又傲娇，每天忙到疯，惨兮兮。

一直放不下心结，每天早上去找早产的婴儿谈心，好可爱，也好心疼。

也真的很喜欢Harry，温柔包容，从来不抱怨Adam的工作，知道Adam对从医还有热爱，知道他care。

他会在两人稍有争执的时候先服软然后抱抱他，会在Adam带他去参加病人葬礼之后开心的以为Adam打开了心结而接受求婚，会给Adam他最特别的戒指，会带他去就酒吧，看他不适应会陪他逃出来在外面跳舞，会一个人策划准备订婚趴，会在Adam妈妈说人都不完美的时候告诉她Adam在自己心里就是完美的。

但也是Adam性格使然，工作已经完全一团糟了还是坚持“I'm fine”，不想也不允许爱人跟自己分担。

这对Harry不公平。

分手以后，再见面时，Adam才哭着跟Harry说我的工作糟透了。

还有Shruti，看到她好像看到每天被论文折磨的我，在Adam跟Harry为数不多的温情场面的时候，镜头给到Shruti，她都还在挣扎努力。

Adam看到她会不会想，如果自己的生活也没有一点调剂，没有Harry的爱，自己会不会跟Shruti一样撑不下去。

最后最后，开放式的结局，公立医院的忙碌和制度缺陷没有变，也不知道Harry跟Adam是不是重新在一起了，Adam新一天的工作依然从惊心动魄开始。

不过Adam明星更有活力了我愿意相信在把所有话都说清楚，两人坦白交流以后，Harry肯再给两人一个机会。

How gender politics evacuates in This is going to hurt --By Adam kay. BBC series This is going to hurt adapted by the same name book written by formal gynae senior doctor Adam kay captured every audience member’s empathy as soon as it was released.Here are some issues we may draw attention in terms of racial and sexism content (racism patient refuse to accept Pakistani doctor and black midwife) of modern British society, domestic violence, and the homophobic content. Among those crucially provocative issues, my point of interest focuses on the discourses of male entitlement including Toxic Masculinity and male empowerment and the female representation of pregnancy stigma. Introduction: In traditional media representation, Males are more likely to be portrayed as aggressive, argumentative, and competitive. Females are more likely to be described as affectionate, emotionally expressive, passive, and tender. The old binary opposition which put femininity at one end of the political spectrum and feminism at the other is no longer an accurate way of conceptualizing female experience. Gender segregation now by itself becomes a power mechanism. Representation of male privilege within the ‘female’ spaces.Center stage problem, center stealing and Overconfidence: In the first episode of this is going to hurt, by saying “I am the most senior doctor here. I am running this ward now and it’s up to me.” Adam attempts to entitle and empower his social identity. This action gets denied immediately by the black midwife leader Tracy by saying “I am running this ward, young man. I am more than capable, and I am handing myself.” The power dynamic is being shifted abruptly and making Adam look small in his position by the next sequence of reverse shots which kind of foreshadows the MacGuffin for Adam in the next chapter (who is the complainer about him to GMC). Psychological or personal entitlement refers to one’s sense of deservingness. Entitlement reflects the belief that a person deserves a set of outcomes because of who they have done. Men give higher estimates of their ability than do women, and men’s self-estimates tend to be independent of their actual ability. On cognitive tests, for instance, men give themselves higher ratings than their actual performance merits, whereas women tend to have a more realistic appraisal of their own performance. When those who are used to being at the center of everything important in society are moved from the center, however briefly, group members experience a threat and therefore are motivated to re-assert their privilege which feels natural, comfortable, and the natural order of things. Members of dominants groups assume that their perceptions are the pertinent ones, that their problems are the ones that need to be addressed, and that in discourse they should be the speaker rather than the listener. Male entitlement: hegemonic masculinity, perceptions of male marginalization and Sanction authority of the white male doctors. Hegemonic masculinity extensively critiqued the male sex role literature and proposed a model of multiple masculinities and power relations. In turn, this model was integrated into a systematic sociological theory of gender. The defense of hegemonic masculinity is usually done quietly through institutions. For example, when Adam’s best friend Greg introduces a bunch of guys to a female strip club as his own bachelor party, by enforcing all the male members of the group into a solid clan in which all the discrimination towards women is generally acceptable, they enhance their hegemonic masculinity mechanism. On overt masculinity politics emerges that exalts men’s power and opposes feminism and by obeying all the criteria and principals within the convention of hegemonic masculinity, anything opposite that is impossibly inclusive such as homosexuality. For Judith Butler, nonetheless, Gender and sex were nothing more than cultural constructions.So, in episode two of This is going to hurt, when Adam and his partner Henry finish the dinner with the couple Greg and his fiancée, by saying “Greg’s life seems settled and normal.” Adam refuses to accept his own feeling of belongingness by admitting Greg’s heterosexual normativity and denying his own sexual performativity. Heteronormativity is the idea that heterosexual attraction and relationships are the normal form of sexuality. It is rooted in a linked essential, dichotomous understanding of sexuality and gender and the perception that these things are fixed and unchanging. The construction of gender identities is produced through repetitive performance of behaviors, physical stylistic expressions, without which the binary distinction has no sense. The instability of the relationship between sex and gender attest to the performative nature of identity. By denying the homosexual identity and relationships with community, it defines the heterosexuality as natural and the norm. It enacts the heterogeneity of drives through the proliferation and destruction of univocal signification. This could be regarded as the primitive origin of homophobic performativity which is unforgivably toxic. Meanwhile, by denying men’s approach to vulnerability, the dichotomous binary mechanism is constructed by itself. When in episode three Adam’s partner Henry asks about his situation by saying “I know something is up for you”, he shows his concern and sentimentality towards Adam but at the same time, Adam refuses to tell Henry about the medical negligence. When Henry says, “let me in, let me know what is going on in there”, the director uses a lot of over the shoulder shots of Henry over Adam and Adam’s singular medium close-up shots in the continuity editing to illustrate Adam’s interior emotional turbulence. Here, again as audience we can perceive that Adam is going through a tremendously traumatized internal journey without letting Henry be aware of it. When Adam says to his eight-five-year-old polish patient Mrs. Winnicka, ‘I used to reckon I was good at medicine but bad at other stuff. Not great either right now’, he finally acknowledges his vulnerability and weakness by admitting that it is inappropriate using his medical knowledge as a mechanism of generating power entitlement in public medical sphere.Afterwards, when the consultant of the hospital Mr. Lockhart warns Adam by saying ‘shits happen, you can’t let yourself fell it all.’ Which becomes the last front line that block Adam to break down. In this way, toxic masculinity principals are transmitted among generations by denying the plausibility of showing men’s sensibility and sentimentality. The death of Mrs. Winnicka in some level serves as a dramatic impulse and plot motivation to imply Adam’s collapsing point in the next chapter. The whole narrative does not approach sexual masculinity issue by telling the storyline itself, but this is still deserved to be regarded as Toxic Masculinity related issue because by enhancing that masculinity is strong, tough, and natural while femininity is weak, vulnerable, and artificial, it proliferates the conception of binary construction even among people who believe that women and men are equals. So, the people understand masculinity as the drive for power, domination, and control. If any social representation and public behavior demonstrate that it is acceptable for men to be fragile, it breaks down the whole dichotomous structure where masculinity is an experience to entitle power and female body is naturally entitled with the responsibility to give birth. The process of moral regulation through discourse makes ontological and epistemological promises of a particular and historical form of social order natural. In this process of resonating binary structure, discourse of ideal pregnancy must be understood as situated moral constructs, which regulate women’s maternal experiences, expressions, and responsibilities. Our collective fear of dangers has forced us into a position where we have created a theory from the body of damage done to us in terms of masochism but expediency. Particularization and negotiation:By representing the voices of women and ethnic others as normal, they become possible objects of identification for men. Particularizing may also be carried out by representing what men do as being particular and only representing a certain social group of men, that is denying them the right to represent the universal any more than women do. In the episode six, when Doctor Shruti meets up with her subordinate junior locum doctor—a tall young white guy who seems very boyish and innocently naïve, the cinematographer opens with a medium profile shot by moving the camera around to the side and subsequently reversing the over-the shoulder shot towards the young man functioning as emphasizing how small the young white apprentice is and empowering Doctor Shruti. Intriguingly, in the next sequence, when the junior doctor stands up and looks down Shruti by saying to Shruti ‘are you one of the midwives, love?’ and Shruti replies by saying ‘I am actually your boss, love.’ We see how the whole power dynamic is solidly constructed. And in the next theater operation scene, the apprentice directly faints during surgery because of witnessing huge amount of blood. While Shruti calmly completes the mission with her intellectual background and wisdom. From here, we notice that the relationship shot in any power dynamic constructing scenario is ought to be established on the figure situated in a weaker position so the power dynamic can be shifted by the reverse shots. If we compare this scenario with the former scenario where Shruti was subordinated towards Adam, we can reach on an undeniable conclude that gender is nothing more than a social construction. Judith Butler defines gender as the consequence of reiterated acts or practices, even if there is a contradiction or instability between their biological sex and their gendered actions. Through gender performativity, one may cause themselves to shape their desire. Gender is performative which means we are not acting it like in a performance but rather constructing it. In the episode four of This is going to hurt, when being asked about his fiancée by his subordinate college Shruti, Adam corrects her spelling as a male version fiancé by saying ‘My alpha male demeanor clearly threw you off the scent ’which is kind of an ironic sarcasm for stereotypes towards queer male intellectuals in social sphere. As For Foucault, an ethical sensibility is a process of constant experimentation and reappraisal, in which new experiences are integrated, and reflection helps determine future actions. From this perspective, if any newly liberal social order is trying to be reached out, we must aspire to building processes of socialization of the new generations within a framework of gender sensitivity where the culture of peace prevails over violence without discrimination, establishing relations of equality and justice, not only in the rights recognized by states among their citizens, but also in daily life, in schools, workplaces and within governments. How those female representations subordinated to Adam are used to consolidate his power in privilege. Firstly: Racial issue: In the first episode of This is going to hurt, the Woman in labor is more comfortable with a Cis gendered white man delivering their baby instead of a black midwife which is particularly bizarre. Again here, black women are unempowered by others. This phenomenon is repeated in the next theater scenario when the white woman in caesarean is unwilling to let the Pakistan origin doctor Shruti to hold her newborn baby. It’s quite intriguing that even though the racial discrimination is clear, the racist herself refuses to admit the offensive fact. However fortunately, the establishing process of the characteristics of the character black midwife leader Tracy is being achieved by performative narrative. When consultant of the hospital Mr. Lockhart asks her why not put the alarm sector issue at the list, she answers him by saying “would you like me to take off the list to make time?” which is a very directly confronting way and reveals that she might be the real ‘assassin’ to kill Adam’s obsessive delusion. The second part: empower shifted. In the episode four when Adam faces in front of his senior consultant obstetrician Mrs. Houghton, he is asked to buy coffee for the team crew which was exactly what he urged his junior subordinate Shruti to do in the last chapter. By saying ‘why don’t you get around coffees in.’ Doctor Houghton empowers herself and underpowers Adam. In the next sequence, by saying ‘I wonder if you might allow me to perhaps do the caesarean.’ Adam puts himself in a weakening position of this power dynamic shifting relationship. Actor Ben Whishaw dissimulates Adam’s penance and awkwardness by a series of body gestures which is a real verisimilitude spectacular for the viewers. The formulaic onscreen depictions are limited along gender and racial lines emasculate the universal female experience of adulthood tragically. This demonstrates their success and respectability within the white dominated literary space. If we compare Shruti, Tracy and Doctor Houghton’s identity, we can see more clearly the distinction between their different representations. Embodiment and representation of Womanhood pregnancy stigma. The issue crucially being concerned about This is going to hurt is the women in labor. How they look life, how they feel and why this show is so cruel to our audiences. And, how those female patients around Doctor Adam enhance their feminized statement. Part of the complexity of misogyny is that women can be punished for stepping outside bounds of femininity, and for residing within those boundaries.In the episode five of This is going to hurt, when doctor shruti tells this middle-aged couple about the implausibility of being parents by saying ‘you only got one percent change to be successfully pregnant.’ We can see the agony and disappointment expressed by the wife’s face not by the husband. And, when we see the frame and composition of this reverse shot, the camera attempts to focus on captivating the woman’s facial expression. All the narrative in this dramatic space emphasizes how suffocating and struggling it is for women to accept the impossibility of being pregnant. The woman’s body, with its potential for gestating, bringing forth and nourishing new life, has been through the ages a field of contradictions: a space invested with power, and an acute vulnerability, a numinous figure, and the incarnation of evil, a hoard of ambivalences, most of which have worked to disqualify women from the collective act of defining culture. The pregnant woman is not identified as a sole entity, but as one figure in the interrelation between mother and child. The pregnant woman is subordinated to the interests of her unborn child. Women are simultaneously assigned to a passive role, as recipients of care and containers for their infants. Also in the episode five, when Doctor Adam operates a surgery for this nineteen-year-old girl to fix her vulva self-damage. It shows us the destructiveness and cruelty the performative normality and social constrictions have done to a young girl. Pregnancy is simultaneously one of the most embodied of human experiences and one of the most discursively regulated. The disciplinary power of discourse lies in producing types of knowledges and making specific kinds of subjectivities socially viable. The mother child dynamic is set up as the ultimate paradigm of the natural caring relationship, and therefore as the ultimate paradigm of all social relations. The mother child dyad is not seen as a particular social and cultural construct, nor is any consideration given to the fact that an ethics of caring may not be an appropriate approach to all forms of social interaction. Possibility of womanhood as a complex and idealized conjunction of a multiplicity of female identities: sexual, domestic, and so on, as a palliative for the narrative’s frequent focus on the question of women’s incompatible social roles. The narrative mode in This is going to hurt by only showing pregnant women condition in public sphere offers an idealized vision of family life and working motherhood. Through its blurring of the boundaries between home vibe and public vibe, it undermines patriarchal capitalism, a system which insists on keeping separate, gendered, and differently valued the two independent atmospheres. The distinction and conflict between public and private and feminist and feminine identities is irrevocably integrated. For example, when Shruti found out domestic violence track of a female pregnant patient from her bruises in arms and shoulders, she immediately took action to rescue the situation. However, when the dramatic complicity is reached out on climax, the midwife Tracy tells Shruti that we still are uncapable to do anything when the patient suffering from domestic violence confronts the same situation in her own house in the future. From here, we are aware that social resources are limited when intervening family issue. How can we change the traditional male approach to international politics by the re-traditionalization of gender.Paternalistic patriarchy.In the early capitalist regions of England and elsewhere, the putting out system, where urban capitalists employed rural households for parts of the production process, led to a strengthening of an archaized version of male household power, which in turn, paradoxically, turned women into a main production force in the early industrial revolution. The putting-out system was formal factorization, while industry make it a reality- outside the home, for the first time outside the reach of reproduction activity logic and rationale. The fact that the paternalistic framework differed from the male/female, production/reproduction-like spontaneous ideas of gender in our time has been underscored of intimacy and the body survived long into the modern age. The Paternalistic stereotypes contribute to justifying and maintaining a social system of gender inequality. There are gender stereotypes not merely descriptive but prescriptive, expressing expectations about how women ought to be. It assumes that women are weak, fragile, and incompetent, women who are subjected to benevolent sexism view themselves as less competent; such women are viewed by others as less competent; moreover, women who reject benevolent sexism are viewed as ungracious and cold. Attributions of non-traditional women’s supposed lack of warmth further serve to rationalize acts of discrimination. In political terms, paternalistic patriarchy was dismantled by democratic movements mainly among men, including the bourgeois revolutions that symbolically and sometimes literally cut off the heads of the old order. It is misleading to say that masculinity became more democratic, since what was involved was the fabrication or factorization of a new sense of identity. Equating difference with inequality provides men with an instrument to use violence against women when other forms of control no longer suffice. Collaboration and interdisciplinary exchange are key factors in terms of inclusiveness. In Foucault’s work, the idea of technologies of the self is part of an attempt to formulate a view of subjectivity that explains how individuals must draw on available discourses, and yet can act autonomously. Judith Butler is concerned with the production of subjectivity within the processes performatively through the repetition of given signs and norms. According to Foucault, agency should be located within the possibility of a variation on the repetition of norms and conceptualized in terms of a taking up of tools where the very taking up is enabled by the tools lying there. From this perspective, agency can be seen as self-reflexive adoption of a specific discourse, and we can extend this to kinds of acts which sartorial choices and uses of media technologies might indicate. Conclusion: Agency in post feminism: Post feminism is a set of ideologies, strategies, and practice that marshal liberal feminist discourses such as freedom, choice, and independence, and incorporate them into a wide array of media, merchandising, and consumer participation whose dynamic is a paradoxical double movement where the dissemination of discourses about freedom and equality functions as a hegemonic strategy to dilute those very politics, providing the context for the retrenchment of gender and gendered relations. The post in post feminism represents not only a temporality, or a backlash against feminism, but also a sensibility; core features of post feminism included an emphasis on individualism, choice, and agency, a resistance to interrogating structural gendered inequalities, and a renewed focus on a woman’s body as a site of liberation. Post feminism responds to a history of feminisms that have directly challenged media representations of women and the commodification of gender, and have focused on social realms including legal discourse, politics, and education. This post feminism sensibility authorized the individualism of women more than anything else, celebrating a kind of gendered freedom from both patriarchy and feminism, whereby women are apparently free to become all they want to be. Indeed, post feminism is enabled by a neoliberal capitalist context, where values such as entrepreneurialism, individualism, and the expansion of capitalist markets are embraced and adopted by women to craft their selves. Ultimately, abdication by feminist theory from the task of proposing a critical perspective on the authenticity of our felt needs and demands means that it necessarily remains locked into a legitimation of present social relations as offering the most appropriate management of needs spawned by it. Television has been historically and pejoratively constructed as a feminine medium. It is useful to contextualize such journalistic accounts of the perceived female takeover of television and discourses of the feminization of television with reference to the narratives of female success, empowerment and mobility that were circulating in the wider culture. Attendant process of detraditionalization and individualization have particularly destabilizing effects on key abstract collective categories and forms of modernity such as class, gender, identity. However, such postfeminist narratives and signs of female choice and empowerment, held up as marking the successes of feminism, betray the extent to which they simultaneously mark its incorporation, revision and depoliticization. Gendered hierarchies are reinstated through new subtle forms of resurgent patriarchal power. The characteristics associated with the feminine, including: the predominance of surface, simulation, and masquerade; the authority of the consumer; and a dedifferentiation of the social, involving a domestication of the public sphere, are understood to be the dominant aesthetics and practices of consumer culture. Gendered metaphors of television are also classifying metaphors in which the female viewer is once more constructed as the possessor the naïve gaze of mass consumerist culture against which the knowing gaze of the middle-class critic is constructed. Even though shifts are taking place regarding gender in contemporary culture, there is a need to be cautious of overstating the gains and freedoms open to women in the reflexive, post-traditional and post-feminist context of late modernity. There process fosters a reconfiguration of these central categories such as class, gender, and sexuality. This reconfiguring process is illustrated precisely by the reflection upon women’s liberation from the rules and norms of traditional gendered discourses wherein liberal feminist values should have been felt to become a common sense across culture landscape. References: Male roles, masculinities, and violence: a culture of peace perspectiveBreines, Ingeborg; Connell, Raewyn; Eide, Ingrid; UNESCO; Expert Group Meeting on Male Roles and Masculinities in the Perspective of a Culture of Peace. This is going to hurt: secret diaries of a junior doctor. Adam Kay. Men who hate women: from Incels to pick up artists: the truth about extreme misogyny and how it affects us all. –LAURA BATES. EVERYDAY SEXISM—LAURA BATES. Modern misogyny. Anti-feminism in a post-feminist era. Kristin j. Anderson. New femininities: post feminism, neoliberalism, and subjectivity. Edited by Rosalind Gill and Christina Scharff. Foucault and Feminism. --Lois Mcnay.Interrogating post feminism: gender and politics of popular culture, Yvonne Tasker and Diane Negra, editors. The history of sexuality volume 4: confessions of the flesh. –Michel Foucault. Dude, you are a fag: masculinity and sexuality in high school. –Pascoe, C.J. University of California Press.

如果你不害怕一些毫无预警的血腥场面，那这部剧值得一看！

篇幅很短（只有7集），虽然和原著相比，画风特别不一样，情节过于套路，但是还是挺立意深远的。

预感是要出续集的节奏。

.我看公众号们都在说这部剧有深度啥的....作为原著的读者，我其实不太喜欢这部剧....

左：原著作者Adam Kay接受GQ采访的节选；右：Ep7中本•卫肖扮演的男主在听证会的发言我也是最近才知道，中译版的译者胡逍扬也太那啥了——原著作者Adam是一位同志！

而中译版把所有partner都译作了“女友”！

所以追剧的观众会觉得——哈？

为了政治正确连性向都给人家改了？

结果没想到Adam Kay本人的伴侣一直都是男性啊....真是太尴尬。

.关于原著小说《绝对笑喷之弃业医生日志》讲了啥，其实很简单：伦敦高材生Adam Kay如何从职场菜鸟变身妇产科杠把子，然后因为一场意外决意辞职的故事。

原著作者出书的时候拍过一系列形象大片写剧评一开始就告诉大家原著结局，是因为电视剧完全和小说情节不一样了。

我当时推荐书的原因很简单，整本书前90％的内容都是笑话，读起来很逗。

而且已经从医生岗位辞职5年的作者写书的动机很伟大——呼吁社会改善对初级医生的偏见：

2016年，英国政府忽然向初级医生们宣战，要求他们工作更长时间、拿更少工资，而且为了舆论，不惜宣称医生们选择这个职业只是为了钱，而不是为了病人的利益。

当时我国媒体也对英国政府的新政做了一些报道中译版小说用“绝对笑喷”把读者骗进来傻乎乎看了全书，最后亲眼看到被繁重的工作压得喘不过气来的Adam误诊了一位患者、采取了错误的接生方式，最终导致胎儿死亡、病人失血12L、子宫切除。

尽管无人追责，但作者本人还是在半年后辞职。

电视剧没有放到最后再重演这场事故，而是在第一集就把它“美化”成Adam误诊了一位怀孕25周的女子，导致她早产大出血（但是人很快恢复了）、婴儿不得不放到保温室（后面也健康出院了）——也很惨，但是没有现实事故惨。

这个早产的婴儿就成了剧版Adam的梦魇：剧中的Adam因为这个婴儿魂不守舍、压力倍增.电视剧名倒也很敞亮，直译原著书名“疼痛难免”，疼痛让Adam思考离职。

但电视剧花了更多的精力拍摄Adam的私人生活：他和同性男友的关系、他和步步紧逼的母亲的关系、他和同事的关系、他和兄嫂的关系......让人感觉病床上那些争分夺秒的手术、缝合、血渍只是他暴戾脾气的原因。

一些原著里看文字觉得只是有点荒诞的情节，真的拍出来就让人不适了....

.哈！

看完电视剧觉得，有点套路，不如原著来的坦诚。

原著没有执着于情情爱爱（主要因为医生Adam他没时间），但笑点与泪点一个都不少电视剧就，很多事情的发展会让你猜到结果！

而且一直拿血淋淋的婴儿在镜头面前闪回闪回闪回，对于我这种胆小的人来说太残忍了（还好我这次改变策略早起白天追剧）。

因此害怕血腥的观众，预警预警，小心血光！

.

以下涉嫌剧透⚠️剧透警告⚠️警告⚠️我之所以说这部剧过于套路，主要是电视剧的很多情节安排没有必要。

比如是否有必要第一集就让Adam出那个美化版的医疗事故，然后遭遇病人投诉？

Ep4：剧中Adam试图劝说早产儿的母亲放弃投诉，结果很快被早产儿的姨妈训斥。

在原著中，出事故后Adam的同事们都宽慰了他，也没有被医院追究责任结果早产的婴儿成了Adam的梦魇，让他无法工作，直到后来当着产妇难缠姐姐的面救了另一名产妇、对方立刻撤销投诉：

.而且原著中，作者是一步步展现了自己从实习医生、住院医生、主治医生、副主任医生的摸爬滚打，循序渐进，难度加大，笑点不减。

而剧中因为篇幅有限，实习医生的部分没办法让Adam自己演绎了，于是找来了一位亚裔妹子：

书中Adam自个儿碎碎念的压力，在剧中全被Adam和其他同事塞给了这位“舒缇·阿卡里雅”：

那最后舒缇，就背负了剧中的沉重指标——自杀了。

啊？！！

为什么非要写死一个人啊，就因为她是Adam的替身吗？

.原著情情爱爱的内容极少，作者抱怨自己的压力也一直用一种很幽默的方式——但这不影响读者了解做医生是多么痛苦、沮丧、懊悔、折磨的一件事。

而剧中呈现Adam的压力就比较极端了——他对实习生舒缇的毒舌、对男友牺牲的视而不见、对亲密关系的安然享受.....仿佛Adam是一个冷血的手术机器，没有精力和亲人相处、没有耐心和男友说话，但是看到手术就能精准地处理。

Adam的男友不堪重负是否有必要这样安排啊？！

.但剧中也并非所有内容都是画蛇添足，有一些内容也颇有警示意义，比如Adam在2009年12月17日的日记里，记录了一次误会：

当天，Adam职业生涯中第一次遇到了封面贴满红贴纸的女士。

好在费尽周折花了40分钟之后，发现那些小红点是女士2岁的孩子贴上去的——“即兴创作的艺术作品”。

但剧中则不是，变成了一场真正遭遇家庭暴力的产妇的求助：

尽管结局不算太美好。

.可能我对电视剧的期待是诙谐改编、立意仍旧，没有预料到会这么暗黑、真实。

所以看了一天心情有点sad。

但是无论剧版怎么改编，编剧都是原著作者本人，可能也是他本人的意愿吧愿意投入精力、人力拍摄这样一部反映英国国家医疗服务体系弊病的电视剧，还是非常伟大的。

白衣天使值得尊敬，也非常非常非常感谢身边每一位医护人员对患者无微不至的关怀、疏导、救治！

本老师出演电视剧甚少，但每次出演都必定活灵活现，这次的《疼痛难免》（This is Going to Hurt)也同样深得我心。

披着喜剧的外衣对人情冷暖和社会百态进行冷嘲热讽，这是英式喜剧一贯的传统。

这种幽默与国内喜剧的区别在于，前者大多乐于揭露其文化中的虚伪与不安，而后者往往热衷于表达小人物的小聪明所带来的优越感。

这也就是为什么这部喜剧的名字以疼痛为主题——笑料的背后，疼痛在所难免。

本老师扮演的主角亚当是一名妇产科低年资医生（相当于国内的规培医生），虽谈不上医术高明，但他总是竭尽所能救助病人，有时由于时间紧迫甚至无视规定和上级的意见，不穿手术服进行手术、带病人走员工通道、让看起来并无大碍的病人留院观察等等这些都是家茶便饭，只因他关心病人的健康安危胜过一切。

不过这样的善意并不总能带来好的结局，在公立医院里，严重短缺的医疗资源给医生造成了巨大压力，无休止的加班、微薄的薪水、奇葩的病人……在没有任何解压途径的情况下，毒舌成了每个医生的标配。

我很能理解这种语言的刻薄，因为我见过在高压的工作环境下同事之间以咆哮作为沟通方式的情况——没有人能在如此不堪的环境之下保持得体的谈吐。

冷嘲热讽的话语指向，可能并不是在对话场景中的人，而是造成这种场景的体制和压迫。

当一个人毫无反抗之力的时候，毒舌是唯一的武器。

否则的话，只能被击垮，要么全身而退，要么更极端一点，诚如Shruti的死。

她的死并非是编剧生硬的一时兴起，而更像是一面镜子、一种提醒。

她的处境其实与男主Adam有着诸多相似，只不过她的出身更为底层，面对父母望子成龙的厚望，她没有办法放弃（一个显然更为简单的选择）。

Adam本来是她事业上的贵人，在没有任何人愿意教她的时候给了她帮助，给她兜底。

然而后来的阴差阳错导致他们心生间隙，她不得不再次开始独自承受压力，直到当她被Adam怀疑是那个匿名投诉者的时候，她的内心终于被最后一根稻草压垮。

在那个时候，她没有愤怒、没有反唇相讥、甚至没有一丝难过，有的只是失望，还有失望带来的麻木。

她不断重复的一句话是，“He didn’t mean it.”（他不是有意的。

)她或许不是在为Adam辩解，而是在为自己辩解——“我不是像他说的那样没用。

”另一个我很喜欢的细节是她去超市买奶酪，被售货员认出是帮他家接生的医生，于是售货员偷偷告诉她要用更便宜的价格卖给她却被经理发现，她没等这出闹剧结束就径直离开了。

因为她无法拒绝这么卑微的善意，更无法直视这种善意的卑微。

在Shruti死后，精明如老狐狸的Consultant Doctor建议Adam把医疗事故甩锅给Shruti（尽管火上浇油过河拆桥的是他自己），Adam在听证会上犹豫再三没有照他说的做，但却讲了Shruti的故事向听证会说明他们初级医生所承受的压力和痛苦，最终他保住了自己的工作。

可是之后他却宁愿放弃这份工作来挽回前男友Harry，Harry拒绝了，告诉他“医生是你的天职。

”他为了工作牺牲了一切，而当他宁可牺牲工作的时候，却得不到曾经深爱的人理解。

于是他回到了之前的工作之中，情急之下在停车场接生，然后收到违停的罚单。

在人生道路上难免疼痛，但又能如何？

上个月刚经历了1次宫腔镜检查和1次宫腔镜手术，以及前前后后数十次妇科检查。

看到这个剧很感动的一点是，这家医院的检查是没有双脚的辅助架子的，做妇科检查是可以不用那么羞耻地把两腿架在钢架上强行被破打开的，你甚至可以得到一张干净的白色床单盖住你的下半身，只有医生能通过床单检查你的身体。

如果现场只有一个男性医生，他会叫来另一位女性护士，两个人同时在场，确保你的安全或者只是为了让你心理上感觉安全舒适那么一点点。

人类文明进化到现在，区别就在于这一点点的安全感和舒适感和被尊重的感觉了吧。

今天看到一篇讲妇科检查的科普文章，里面提到了我们在妇科检查时提升自己的舒适感的建议，女性可以在检查的时候正当的提出包括不限于：『医生给我铺一张无菌垫』、『请给我换一个小号的鸭嘴夹』、『请多涂一点润滑』、『请取样的时候轻一点』等合理要求，不要自己默默忍痛。

我理解医生们每天面临巨大的工作量而无法做到关心患者的情绪，但我们自己把自己当成一个人，至少我自己要去争取被人尊重。

我去过昂贵的私立医院，基本2-3个医生或者护士服务一个病人，体验感当然很好。

我也去过排队动辄1个小时的公立医院，需要自己花时间鼓励自己，做好自己的心理建设，在检查前中后不断忍着眼泪告诉自己我只是一块肉。

重庆也有好几家稍微贵一点病人相对较少的公立医院，医生护士会耐心和温柔一些，面对我提出来的要求会尽量满足。

女性的生理健康不是羞耻的事情，我们可以讨论和分享相关经验，关注自己的身体健康，获得被尊重地检查身体治疗疾病的体验，是最正常不过的需求。

我知道子宫需要做手术的时候有点生气，凭什么女性器官就这么容易出问题，吃辣的喝凉的熬夜抽烟喝酒都是诱发因素仿佛受不了一点点刺激，凭什么前列腺就没这么脆弱？

后来我的男性朋友纷纷安慰我，他们的前列腺也或多或少有过炎症接受过治疗，其实都一样，男性也面临同样的疾病羞耻，因为男性自尊问题，男人们甚至更不敢讲出来。

我承认我有被安慰到。

未来我还会有很多次妇科检查，希望有一天，在检查时我能得到一张干净的白色床单，医生护士可以耐心地告诉我检查会有哪几个过程，时间会持续多久，过程可能会有点痛但他们会使用润滑油尽量轻一点。

什么时候我国就真正文化自信了，就真正包容万象了。。。

我仍清楚的记得，小时候我父亲基本每天都要翻厚厚的书，我奇怪为什么他工作这么久了还要学习。

我母亲时不时就要自言自语的背一些护士考试的东西，或者医院的规章制度，以防突击检查。

如今，我也已经在同一个医院工作了多年，虽不是一线医疗工作者，但也为医疗工作而服务着。

这部剧拍的是如此真实，每每在人命面前，其他一切都无足轻重了，你周围亲近的人的感受，你同事对你的眼光看法，你晚上吃的饭是不是自己想吃的，外卖员有没有把你的外卖弄洒。。。

这些事情在急迫的“救命”面前，是那样的微不足道。

然而无奈的是，在这些你所在乎的别人的“急迫”结束之后，你自己的生活却又要时不时的给你当头一棒。。。

真希望我们国家也多拍一些真实的剧吧，不要每次一拍医院，就仿佛全国的医院都那样又明亮又干净又井然有序的，真的是。。。

越缺什么，越要彰显什么。。。