《长安的荔枝》迎来大结局。 这部剧自播出到现在，引发了不少的争议，比如改编，比如演员，热度一直高居不下。 而这其中，Sir觉得很有讨论价值的一个争议，就是——仪态。 这部剧在仪态上下了很大的功夫，比如，剧中全程对自己的称呼，都是"某"。 或者，人与人送别时，是真的会折一枝柳条，插在帽檐上。 甚至于，你看这个拱手礼。两手交叉，放在胸前，作谦卑的模样。 刻意吗？ 从某些方面来说，确实有"刻意复古"的嫌疑。 可是——Sir倒是觉得，相比于"过犹不及"，当下大部分的国产古装剧，更大的问题则是连这样的意识 都没有。 这导致"古人"越来越少，"伪人"越来越多。 而这，也消解了"古装剧"本该有的魅力。 01 为什么Sir会这么看重古装剧的仪态？ 最直接的原因，是"像"。 一个角色只有我们觉得"像"了，才能"信"，才能继而认同并深入角色本身，去体验这个故事。 当然，我们谁都没见过古人，古人该是什么样也各有各的说法。 但至少，我们都知道古代礼仪的行为逻辑——礼不下庶人，而礼，则等同于身份。 也就是说，普通老百姓当然不会在乎什么仪态，但如果你是有身份的人，或者与有身份的人接触，那么 你的一举一动，都要保持一定的仪态，它时刻在彰显 ...

Group 1 - Two domestic dramas are set to compete this week, one being a "remastered version" of "If Life Were Only as It Was at First" after a year of anticipation [2] - The other drama, adapted from a popular IP, features a strong romantic theme but has received negative initial reviews, with viewers describing it as "ugly" before it even opened for ratings [4][6] Group 2 - The story of "折腰" (Bending the Waist) revolves around a political marriage between the main characters, who are caught in a web of family feuds and historical grievances [12][15] - The narrative explores themes of sacrifice and the role of women in political alliances, with the female lead taking on a significant burden to ensure peace between warring families [57][71] - The drama's portrayal of the female lead's struggles highlights the tragic nature of her situation, as she navigates familial expectations and societal pressures while seeking her own identity [78][100] Group 3 - The character dynamics in "折腰" reflect a broader commentary on the expectations placed on women in historical contexts, where their worth is often tied to their relationships with men [70][102] - The drama's title, "The Prisoner of Beauty," suggests a critique of the romanticized view of love and marriage, emphasizing the constraints faced by women in such narratives [108][110] - The reception of the drama indicates a disconnect between audience expectations and the actual portrayal of its themes, raising questions about the representation of women in contemporary adaptations of historical stories [111][112]