鬼入侵第一季

前面的剧情都不太记得了，就记得小女孩的甜美嗓音和perfectly splendid，以及女主的刚和善良。

后面几集就开始交代剧情，一集一个人（鬼）的故事。到第8集的时候画风全变，感觉水准飙升，时时被拉住注意力，而且旁白真的太美好了，一言一语地诉说着庄园的故事，有爱有恨精彩绝伦，姐姐的占有欲和掌控欲不仅会使自己在乎的人覆灭更会反作用自己。感觉妹妹打开箱子挺现实的，姐姐欲望也太庞大，不仅什么都要圈在自己的地盘里，还都得如她所愿，甚至能掐s妹妹真的绝了。（妹妹的鬼魂也是一次都没有出现在庄园里过）姐姐简直就是我得不到的就要全部毁灭的典型。

最后一集，真的再次拔高全剧水准。甚至安利的时候可以说只用看第一集和最后两集就够了，前面除了女主戏份也就小Isabel值得看，小演员的台词和演技都太绝了，到位不含糊，精准又有美感加成。

女主被拖上楼的时候我就想笑了，这生命力哈哈哈跟peter完全不一样，包括isabel的亲爹，掐3秒就没了。令人感动的善良还有isabel救了女主，女主清醒过后爬去救isabel，太饱满的善良了。女主说its you的时候，我觉得很正常呀，很多事情就是毫无逻辑的，突然一股情绪就是要脱口而出，被附身了。包括姐姐的重力使所有人事物都脱离不了庄园是一模一样的科学理论。

话说it‘s a love story，园丁无论什么时候都会支持女主守护女主，而且真的太会说话了，都能巧妙又不失幽默地点到关键部分，给女主坚定的力量。在女主迷失自己的时候，园丁毫不犹豫地说你去哪儿我都陪你，即使那个地方是万丈深渊，她都如此坚定。呜呜呜，最后一起成功去了美国。

“过一天是一天”，几天过去了，几个月过去了，几年过去了。魔鬼终于敲响铃铛，女主一方面是害怕自己灵魂被湮没，另一方面是害怕自己对园丁的生命有威胁，于是远走。我相信在手放到园丁熟睡脖子清醒的那一刻，女主肯定也是动用了很强大的意志吧。

园丁义无反顾地冲去庄园，看着她勇敢的背影，真的好好哭。坚定地走入水里，用力潜入水里的身影，看见女主的那一刻呜呜呜，女主不会带走她，永远都不会。

园丁回到家，努力试图在浴缸里放水看见女主，试图在各种水的倒影中找到女主，甚至给门留了条缝，这几个微小的习惯，带有寓意和愿望的动作，一做就是几十年，半辈子。她在等她，她却一直在身边守护她，没有走。这就是爱情永恒的样子吧，真是太好哭了，呜呜呜it‘s a perfectly splendid love story。

《鬼庄园》是单独一季的剧集，与其他剧集并无情节关联。

官网截图

官网介绍为“哥特式浪漫剧集”，此前的简介是“ 这个哥特式浪漫鬼故事改编自亨利·詹姆斯的作品，出自《鬼入侵》的创剧人之手 ”。

这不是个鬼故事，而是个爱情故事，看完就会明白。

对原著感兴趣的，请看亨利·詹姆斯的《螺丝在拧紧》

《螺丝在拧紧》

附上《螺丝在拧紧》的英文有声书

一本中篇小说要改编成九集电视剧，内容未免不够丰富，除了书中原有情节，还要添加诸多元素：

杰塞尔小姐的名字叫丽贝卡，顿时让人想起黑白老片《蝴蝶梦》，同样也有阴森森的大宅子、严肃的女管家，还有在小说开始即已死去的女主人丽贝卡。

有趣的是，薇奥拉也把自己的大幅油画挂在墙上。

娃娃屋是恐怖片的宠儿，这个定制的昂贵娃娃屋更是暗藏玄机。

恐怖娃娃屋

至于剧中的感人爱情，倘若让洞悉女性心理的亨利·詹姆斯看了，不知作何感想。

开头讲故事的女人是谁？第九集会揭晓谜底

湖中无脸女鬼的身世？直接看第八集

简略的时间线（严重剧透）：

1680年 薇奥拉去世

1686年 珀迪塔去世

1984年 弗洛拉五岁 发现夏洛特和亨利的私情

1985年 弗洛拉六岁生日 收到娃娃屋

多米尼克和亨利摊牌 此后夏洛特和多米尼克在印度车祸身亡

1986年 丽贝卡求职 与昆特相恋

昆特卷走25万英镑 丽贝卡投入湖中死去

1987年 伦敦 丹妮求职 此时迈尔斯十岁 弗洛拉八岁 故事开始...

2007年 北加利福尼亚 弗洛拉结婚 杰米讲故事

每集中隐藏的各种梗：

第一集 很棒的好地方

开头诡异的歌声来自1961年改编《无辜的人》(The Innocents)的插曲

作为本剧的主题曲，后面还会出现，歌词暗指杰米和丹妮的结局。

We lay my love and I,

Beneath the weeping willow.

But now alone I lie,

And weep beside the tree

Singing ‘o Willow Waly’,

By the tree that weeps with me.

Singing ‘o Willow Waly’,

Till my lover returns to me.

We lay my love and I,

Beneath the weeping willow.

But now alone I lie,

Oh, Willow I die.

Oh, Willow I die.

我和我的爱人

躺在哭泣的柳树下

如今只剩我一人

躺在柳树旁哭泣

唱着“哦 伤心的柳树”

柳树也跟着我流泪

唱着“哦 伤心的柳树”

直到爱人回到我身旁

我和我的爱人

躺在哭泣的柳树下

如今只剩我一人

哦 柳树 我将死去

哦 柳树 我将死去

重力井

重力井是围绕某个天体的引力场，这条线索将在第八集挑明。

第二集 学童

牧师在课堂上讲解三本福音的不同，内容颇有意味：

那里有一大群猪在山上吃食 污鬼就央求耶稣说 求你打发我们往猪群里 附着猪去 耶稣准了他们 污鬼就出来 进入猪里去 于是那群猪闯下山崖 投在湖里淹死了

牧师让迈尔斯读的段落

《约翰福音16：22》

So you now indeed have sorrow, but I will see you again, and your heart shall rejoice, and your joy, no man shall take from you.

现在你们也有忧愁 但我要再见你们 你们的心就会喜乐 你们的喜乐是没有人能够夺去的

第三集 两张面孔（上）

肯辛顿的定制服装店和豪车车标，表明了主人的身份。

而彼得·昆特出场的插曲是 Tainted Love, Soft Cell 乐队80年代的版本，歌词如下

Sometimes I feel I've got to Run away I've got to Get away From the pain you drive in the heart of me The love we share Seems to go nowhere And I've lost my light For I toss and turn I can't sleep at night

Once I ran to you (I ran) Now I run from you This tainted love you've given I'll give you all a boy could give you Take my tears and that's not nearly all Tainted love, oh Tainted love

Now I know I've got to Run away I've got to Get away You don't really want any more from me To make things right Need someone to hold you tight And you'll think love is to pray But I'm sorry I don't pray that way

歌词恰好印证了昆特与丽贝卡的故事

第四集 来时路

开头的插曲是 Steve Winwood版本的Higher Love，发行于1986年（一年后，丹妮来到伦敦应聘）

Think about it, there must be higher love Down in the heart or hidden in the stars above Without it, life is wasted time Look inside your heart, I'll look inside mine

Things look so bad everywhere In this whole world, what is fair? We walk blind and we try to see Falling behind in what could be

Bring me a higher love Bring me a higher love (oh oh) Bring me a higher love Where's that higher love I keep thinking of?

Worlds are turning and we're just hanging on Facing our fear and standing out there alone A yearning, and it's real to me There must be someone who's feeling for me（一定有人对我有感觉）

歌词映射出丹妮对higher love的渴望，也为后面两人分手做了铺垫

第五集 死者的祭坛

汉娜在面试欧文时提到了《楼上楼下》（1971年BBC版）

两处引用莎士比亚的名句：

《罗密欧与朱丽叶》

The sweetest honey is loathsome in his own deliciousness. And in its taste confounds the appetite.

最甜的蜂蜜 尝起来也最腻人 反而败坏了食欲（此处指昆特与丽贝卡的爱情）

《哈姆雷特》

To sleep, to sleep perchance to dream. Ay, there's the rub. For in that sleep of death, what dreams may come when we have shuffled off this mortal coil.

睡着了 睡着了也许还会做梦 阻碍就在这儿 因为在那死亡的睡眠里 当我们摆脱了腐朽的皮囊 将要做些什么梦（这一集的戏眼）

第八集 旧衣的浪漫

这一集的内容来自亨利·詹姆斯的短篇小说《旧衣罗曼史》The Romance of Certain Old Clothes，讲述威洛比家族的轶事，虽然情节有所改动，内核还是个诡异的哥特式鬼故事。

牧师让薇奥拉念祈祷文，薇奥拉不肯念的那段：

《新约：约翰福音》

I go, and prepare a place for you. And I will come again, and will take you to myself, so that where I am, there you may also be

我如果去为你们预备了地方 就会再来 接你们到我那里去 好使我在哪里 你们也在哪里

还有一段拉丁语的祈祷文，貌似没有配字幕

In nomine Patris, et Filii, et Spiritus Sancti, amen. Prínceps glorisistima cæléstis milítiæ, Sáncte Míchael Archángele, defénde...

以圣父、圣子和圣灵之名，阿门，天军之君大天使米迦勒保护我们...

第九集 丛林猛兽

在《白色圣诞节》中，主人公踏上了前往佛蒙特州的旅途，而丹妮和杰米也选择在那里生活

佛蒙特州

丹妮和杰米看的电影是奥黛丽·赫本1954年主演的《龙凤配》

《龙凤配》

欧文开的餐馆叫做“A BATTER PLACE”(面糊美地），这是他从前对汉娜说过的话

A BATTER PLACE

结尾插曲是Sheryl Crow的I Shall Believe，歌词如下：

Come to me now And lay your hands over me Even if it's a lie Say it will be alright And I shall believe

I'm broken in two And I know you're on to me That I only come home When I'm so all alone But I do believe

That not everything is gonna be the way You think it ought to be It seems like every time I try to make it right It all comes down on me Please say honestly you won't give up on me And I shall believe And I shall believe

Open the door And show me your face tonight I know it's true No one heals me like you And you hold the key

Never again Would I turn away from you I'm so heavy tonight But your love…

歌词真是应时应景，与画面搭配得perfectly splendid!

——————————————

Fandom-2020年最佳新剧

Nerdist网站-2020年最佳电视剧

作为一部故事片我能给及格分，但作为一部恐怖片我给不及格分。

作为鬼入侵的第二季，第一季的精彩构思和剧情转换在这一季里没什么体现。恐怖元素几乎没有，故事讲的也很松散，关联性较弱。每个配角和一些看似精妙的伏笔都没有深挖。

女主未婚夫作为前期主要恐怖元素消失的时候甚至都没一个镜头，前任女教师的剧情更是迷惑，我一直觉得这对恋人后期会出现一些作为主要看点的剧情，毕竟这俩人篇幅感觉比女主都多，结果从湖中女士一出来，前后的剧情直接割裂开。前面是故弄玄虚的惊吓，后期直接走爱情剧情流。感觉所有角色都是高开低走，戛然而止。典型如亨利，精神分裂？剧情篇幅占的不少，然后就直接没有下文，亨利线如果不挖反而砍掉比较好。

全局其实最让我出戏的是结尾湖中女士出现的时候，管家剧情铺垫到这里，救世主般的登场，然后…就没有然后了。类似的还有亨利，前面场景气势汹汹要搞大事一样的Peter。一个被随手秒杀，一个则直接躲起来。前期那么多剧情，到这集体打了个酱油然后基本彻底杀青了。

主线比支线都短你敢信？短也就算了，还没有爆点。

这部剧其实分两部分，前面八集是一部二流恐怖片，最后一集是一部一流爱情片。

ps：岁月是个神奇的东西，年轻时没什么文化的cool姐园丁，后期优雅知性的中年女子，讲故事用的遣词造句我给满分。

第一季取胜的除了恐怖的氛围之外，我个人最喜欢的其实是它的叙事方式。

第二季用一个叙述者讲故事的方式进入故事，前面第一集到第四集是沉闷且冗长的平铺直叙，虽有铺陈，但实在无趣；第5集才开始进入正轨，进入思绪的跳跃式网状叙事，前四集的铺陈也豁然开朗；第6第7集沿用第5集叙事方式加班加点地把主要人物交代清楚的同时也推进故事；第8集交代起源；第9集收尾。女家教和园丁的爱情取代了恐怖，由鬼故事转调定性为爱情故事，圆满了为什么这个鬼故事一点也不恐怖这件事。

反复地陷入过去的记忆，因为不会有 / 不期待会有更好的新的未来，只剩下可能是美好的或者是恐怖的记忆，陷入其中无法自拔，然在时间的洗礼下，不仅没有新的未来，连仅存的过去的记忆也终将会失去，甚至模糊了面貌，剩下的只是游荡在庄园内徘徊不散的缚地灵，个人觉得这件事很悲哀。也跟厨师那患有老人痴呆症的母亲有了互映 / 对应。

对应回园丁和家教老师的爱情也是，如同被证实患上老人痴呆症的病人一样，终将失去的事实板上钉钉，但“死期”何时会降临则未可而知，相爱的两人在失去的恐惧中相互搀扶如履薄冰地，缓缓前行，直到家教老师成为新一任湖中女士……她们的爱情从此失去获得新的未来的机会，只剩下过去的回忆，在没有未来的未来里，独自被遗留的人，拖着被岁月洗礼下逐渐衰老凋零，而终向腐朽的躯体，在记忆还未被洗净之前，在脑海里的她的容颜仍显明的时候，每夜每夜在浴缸和洗脸盆蓄满水和坚持留下的门缝，渴望重遇那被时间带走已不可能再次降临的过去……这确实不是一个鬼故事，而是一个失去了未来，而过去也终将会被消失的一个令人伤情的爱情故事。

得以离开，或许是对那些没有未来也失去了过去的鬼魂 / 厨师老母亲，也是身在其间的其他生者最大的解脱。

另外，17世纪的庄园女主人，以一人执念造就整个鬼庄园，执念是一种力量，有时，过了也是一种一叶障目的诅咒。

维奥拉怎么看都是烂人一个

哪怕一直心里默念这是个悲剧人物，是悲剧人物，悲剧，悲

西巴，到底怎么想的写出这么个东西？伽椰子至少有悲惨的死亡，她纯自作自受，几年的照顾视作理所应当，想扇耳光就扇耳光，扇完又让妹妹扶她回去，让扶不让碰。这不是固执，是偏执。看见丈夫把箱子沉底我可太痛快了，还没怎么舒坦就看见她开始杀人，你女儿离开庄园又不是死了你他妈直接杀小孩，看得我拳头梆硬

彼得和丽贝卡那条线也他妈地离谱，你管这叫爱情？用的词句再美再诗意也掩盖不了这段关系的本质，是谋杀啊！丽贝卡你长点儿心吧，拿着精英女性的人设演着恋爱脑的戏。

本人非常喜欢第8集关于Viola的盘白，文学功底深厚，此文作部分摘选，仅供欣赏

She would sleep.

She would wake.

She would walk.

She would sleep.

She would wake.

She would walk.

And time went by, how much time, it was impossible to reason.

Sleeping

Walking

Walking

And in time, as we all do, she admitted all. She admitted she was dead. She admitted her husband had moved on. She admitted her daughter was growing without her. And she admitted her room was a dream, a construct, a lie preferred, to the truth of the trunk.

But there waited for her, at the end of this purgatory, a reward in the knowledge that one day, the door would open. One day, the locks would see their keys, and, one day, Isabel would open her mother’s trunk and claim her rewards. Both of their rewards.

And day after day, night after night, an ocean of time, the moment finally came. When she beheld her husband, she saw not the changes wrought of time, only his sadness. only that. And so, overwhelmed, she slept and waited.

They buried Lady Perdita, and set about forging a new life. The business was empty, the manor was lost. If not in law, in spirit.

They would move away from here, sell the manor and find a quieter life, a smaller one, made only for two of them. The two of they, and also, Viola.

At least, at least, she’d be with them both. Her husband, her daughter. No matter if she couldn’t see her, couldn’t touch her, couldn’t hear her. No matter. She’d be with them, and that was all that mattered.

They were leaving Bly, leaving most of what remained of their belongings. Her reward for all these years of isolation, for all the ache in her tired heart.

But Arthur had grown a superstitious man, and had seen the horror on Perdita’s lifeless face.

His superstition defied reason, but felt confident all the same. Whatever curse had claimed his second wife, he would not risk his daughter to its icy fingers. His daughter, or anyone else.

The final insult of being cast to the swampy depths, while her daughter would grow to womanhood. This absolute abandonment. It shattered Viola’s heart.

The feeling of being pulled towards some other place, some realm beyond, had faded in the years since her death, but now she rejected it outright. With every ounce of her considerable will, as when she was sick, and against all probability, Viola would not go. The eldest of Willoughby’s daughters, once lady of Lloyd of Bly, remained, some would whisper, by stubbornness alone.The pull of that next world ignored, she instead made her own gravity, gravity of will, that would change the terrain of Bly Manor forever.

And once again, she would sleep. She would wake. And she would walk. As if woken from a nightmare, she would walk back to her home, feeling each time that it is a dream. Feeling that if she walked to her bedroom, to the room she once shared with her husband, her infant daughter, that perhaps the nightmare would abate, that she could simply slip into the warmth of blankets and nestle herself to the bosom of her family, waiting for her all this time. And she’d stare at that empty bed, and Viola would remember. And the remembering itself was injury anew. Her heart would shatter anew, burning in her bosom, a searing ache that she hoped would be quenched by the cold, muddy waters of her new manor, her new home.

Thus, she would sleep, and she would forget. Having forgotten, she would wake. She would walk. How many nights, how many walks, she could no longer count.

Her attention lay only ahead, only on the bed that was her goal, and on the daughter she believed, each time she woke, would be waiting her there. She didn’t even realize that a decade had passed, not even realize, after an outbreak of plague in the village, that the empty manor had become a quarantine for the coughing death that ravaged her former community.

“Where is she?” Viola asked.

“What are you doing in here? It isn’t safe. You mustn’t be in this wing without protection.” said the plague doctor.

“Where?”

As the plague doctor died, so he was immediately forgotten, and a strange phenomenon occurred. Her gravity, it seemed, her invented gravity that held her to the grounds, that kept her in purgatory, it would hold others, too.

She would sleep, and as happens when one dreams, she would forget. And having forgotten, she would wake. She would walk.

Viola faintly noticed her own attempted exorcism. And alas, poor vicar, the second person to find himself in Viola’s path.

She would sleep, forget, and forget, and forget. And with the forgetting, an ailment altogether monstrous.

All things fade. All things. Flesh, stone, even stars themselves. Time takes all things. It is the way of the world. The past recedes, memories fade, and so, true, does the spirit. Everything yields to time, even the soul.

Wake, walk, forget even more. Her name, forgotten. Her sister’s name, forgotten. As her memories left her, so, too, her face.

So little did she remember, that one night, she found a child in her daughter’s old bed, and could not remember who she had been hoping to see. She had only the faint notion that she’d walked this far hoping to find a child, and here was a child. It must be the child whom she’d sought. It must.

She would sleep, and fade, and fade. And others, too. Those souls held in her orbit, those unfortunates trapped in the gravity well she had made of Bly Manor. They were fading as well.

The eldest of Willoughby’s daughters, once Lady Lloyd of Bly, now just a thought, just a feeling, not a women at all, not a person at all, nor a name or face. Just need, need, and loneliness, and rage.

Her fate was a nightmare. A fate that befell all trapped at Bly. A fate that befell Viola’s once sister, now forgotten in the attic. Unaware that she’d ever had a sister at all, to murder, or be murdered by. A fate that befell anyone unfortunate enough to step into her habitual path. A fate that befell a poor valet, so many years later. A fate that befell even those who died of other causes at Bly, who found themselves in the grips of Viola’s gravity, even if never in the grip of her icy hands.No hope for anyone with the sad misfortune to die on the grounds of Bly. No hope for the victims of Bly, be the victims of fate, of vice, or disease, or of each other.

史蒂芬·金的《小丑回魂》里有一个关键的设定：小丑会变成你最害怕的东西来吓你。你恐惧的，就是你在逃避的。

而《鬼庄园》在此基础上，更进一步。

你恐惧的，是你在逃避的，更是你疯狂追求的。

现实中这样的例子数不胜数，

我们总是愿意以“爱”为借口，最终却以悲剧收场，

“爱”是个不好把握的词。

因为太多人用“爱”去掩饰被鬼附身的样子。

真正的爱，是坦然接受，尽管终有一天失去所爱会经受痛苦，但还是值得努力去爱。

01《鬼莊園》的整體格局小了很多

整個團體沒有之前的凝聚力，整體劇本就顯得沒有《鬼入侵》那樣重點突出的優勢。編導團隊的削弱或者說分化，導致《鬼莊園》的大綱到細節，都有了不同程度的削弱。

《鬼莊園》沿用了《鬼入侵》的大體流程——一位急于擺脫過往的年輕美國女子達尼，在八十年代的倫敦這個多元化社會中艱難求生。某一天，一位看起來還算小有資産的老板亨利雇傭她去鄉下莊園給自己家族的兩個孩子當住家保姆。

爲此，達尼風塵仆仆的跑到壹個相對封閉的莊園裏，見到了亨利的侄子侄女，以及爲莊園的日常運轉而生活在這裏的一群人，包括管家，園丁，廚子，牧師，甚至于帥得不依不饒的司機。

原本以爲可以在這座風光不錯的小莊園裏慢慢恢複自己感情傷害的達尼，卻發覺不僅僅是自己過往的那些愧疚越發洶洶的浮現，而且她身上帶著的秘密，似乎也勾起了莊園裏一些年深日久的恐怖，原本只是躲在陰暗裏的一些的陰暗往事，已經開始明目張膽的侵蝕莊園裏的人們，並且越來越接近兩個孩子的人身安全。

爲此，達尼需要在莊園裏分辨出哪些人是還沒有被侵蝕的正常人，然後團結起來，守護住莊園的平和，以及他們自己的人身安全。

02當觀衆都先知先覺下面該有鬼出場了，那還怎麽嚇人啊？

大體上，《鬼莊園》和《鬼入侵》走的一樣的古典主義的驚嚇路線，盡量避免使用血漿撲面的比較露骨的方式來營造驚嚇和恐怖，將著力點集中在色彩的渲染和環境氣氛的營造上。

可是，在細節的鋪陳方面，《鬼莊園》的驚嚇之處安排得比較明顯和松散，和講求明暗兩條線索的《鬼入侵》而言，嚇人的橋段太明面了，在劇情裏驚嚇的效果就會大打折扣。

《鬼入侵》的鬼影憧憧在于整體氣氛的充足，通篇是陰冷的冷色調，大量運用陰影來增強畫面的視覺遮蔽效果，就算是那種豔陽高照的晴天效果，也大量的添加了陽光下陰影的占比，形成陰影大于陽光的明暗比例，于是在這種視覺遮蔽裏面，不僅僅給人壹種壓迫性的危險潛伏的緊張感，而在于，劇情裏真的有很多鬼影存在這這些陰暗裏面！

在劇情發展的過程裏，觀衆隨時在提心吊膽，陰影裏會不會有未知的危險隨時准備攻擊！

而《鬼莊園》追求一種溫和飽滿的八十年代黃金時代的溫暖色調感，一直在營造一種蔥綠和橙黃色的基本色調。莊園外面是生機勃勃的英國鄉村風景，內部是原木色的內景，整體在燈光下呈現出一種溫暖的歸宿感，所以，那些陰冷環境裏鬼魂的運動，以及那些鬼影的出現，就因爲色調的突然變化，先期給了觀衆建立自我防禦的時間，驚嚇力度明顯削弱！

03如果驚嚇不足，妳得把感情張力做足。

作爲一部以驚嚇和恐怖爲主打的劇集，如果妳不嚇人了，就必須在驚嚇之外，做好十足的情感調配工作。

《鬼入侵》的情節構架渾然一體，用一個家庭在老莊園舊房子的鬼怪引力場的困宥中，掙紮求生幾十年的經曆，來構建一個驚嚇和感動並存的故事。

它的情節很標准——用一個家庭成員之死來做引子，然後，通過介紹各自困在自己生活裏而拒絕再度融入家族的家庭成員，來構建最初四分五裂的家族生態。

用了四集多的時間，構建幾位成員幾十年的積怨和相互之間的矛盾牽扯，在第五集突然反轉——一直作爲主要敘述者的小妹，在家族追悼會上發現原來死者是自己，而那個一直糾纏在她生活裏的面目猙獰的惡靈，其實是一直在咆哮呼喊的自己的靈魂——將整個劇情的情感沖擊力達到最強。

而後，通過小妹的靈魂試圖挽回事態的過程，進一步交代一家人爲何被老房子所影響，進而通過剩下的人想要徹底解決老房子裏惡靈效應的種種努力，構成後半段自我犧牲來拯救家族的主題提升。

而《鬼莊園》的故事相對松散，雖然故事主體還是一棟因爲年代久遠而堆砌了大量惡靈，形成了重力漩渦的老式莊園，但是裏面人物之間的情感聯系不強——畢竟是八十年代的純雇傭關系，主要人物之間保持了微妙的疏遠。所以，想要達成第一季那種爲了家人舍生忘死的情感張力，確實有些吃力。

而一旦這種內在情感失去足夠的說服力，劇情裏面其他很多方面都會大打折扣——同第一季一樣的多線性敘事，會變成炫技。雖然在莊園的引力場裏，不同時期的死者可以同時共存，但是他們之間的情感張力明顯不夠。于是，他們尋找自己身份，記住和發掘出自己已經死亡的過程，就顯得有些幹癟和多余。

尤其是，那種前期各種不合邏輯的現象的鋪墊，以及後來用來讓角色猛然發覺自己已經死亡的豁然開朗的結局展開，就顯得不夠自然和圓熟。

個人而言，《鬼莊園》比較英式田園，講究含蓄和美麗。它在構建整個環境的時候沒有准備把劇情做成驚嚇，而是想要做一個美美的情感故事。

于是，劇情裏大量青綠色的風光和溫暖的家居內飾營造出一種足夠溫暖的氛圍，讓觀衆忽略了這種溫暖的歸屬感裏面的驚悚成分。

鬼魂的設定過于保守，達不到嚇人一跳的面目猙獰，這種整體柔化的效果，使得中間那些靈魂輪回，曆史淵源一類的填充主題，就被這樣過于賞心悅目的畫面感給消弭了。太漂亮了，還怎麽嚇人啊！