僵尸日记2

ZQ本身也蛮高大了吧，竟然在里面做了个性冷淡的娘泡受，不过还是很美很Puppy啊我觉得他可能也因为这出戏怕播出时造成太大的非议和媒体追问，于是自个儿先把柜出了，省的大众又加油添醋被狗宅追写，顺便还能为节目造势一把。

（小钙自杀我知道的啦，只是仅从这部戏来想其中一个原因罢了）话说攻君换成比较相像的亚历山大君是不是就更完美了呢？

厕所那一抓，不少G片又可以衍生下去拍外传了哈哈哈根据这一集的线索，个人猜测Addy很可能就是第一个医生屋主被肢解掉的孩子怨灵剧末众配角悉数登场，也给观众抛出了一系列问题Tate是人是鬼？

黑衣男是谁？

肚里的是鬼孩子？

Addy生死未卜（哪个晕倒的女医生我开始以为是Addy变的）？

女仆为何走不了——仅仅是因为尸身不见天日？

毁容男Ben索要男猪1000美刀来何用？

Violet在哪儿？

另外，在没感觉出有任何单元剧走向的情况下，我觉得这片叫凶宅怨灵，鬼屋心慌慌之类就算了，扣着 American Horror Story的标题总觉有点托大，这也容易造成观众曲解了这部戏的内容而导致一些人早早弃剧。

前情时间线：1920年，外科医生Charles和他的妻子Nora建造这栋房子，医生染上毒瘾，两人的生活无以为继，开始为未婚的女孩打胎，挣些小钱，24个女孩在手术中不幸逝世。

某位发现真相的男士为了报复医生夫妇，偷走了他们的独子Thaddeus，并把他肢解。

夫妻二人崩溃，医生心态发生变化，开始尝试缝合儿子，他用一个还活着的女孩的心脏，创造了一个小怪物，妻子Nora发现后，绝望之下枪杀了丈夫，再自杀。

这栋充满了未婚女孩和婴儿亡灵的谋杀屋，就此落成。

1947年，黑色大丽花案件发生在这栋房子里，一贫如洗但心怀演员梦想的大丽花上门，希望此时住在房子里的私人医生帮她拔牙，医生因麻醉过度使大丽花死亡，Charles出现，帮助医生肢解了大丽花，并弃尸荒野。

1968年，这栋房子被作为护士宿舍，一位杀人犯非法入侵，在这栋房子里残忍地杀死了2名护士。

1978年，双胞胎男孩到这所废弃的房子里探险，在地下室被Thaddeus吓到，并被他杀死。

1983年，此时房子的女主人Constance发现女仆Moira和老公偷情，枪杀二人，并把他们埋在后院。

伤心之余，她搬离房子，住到隔壁。

而这栋房子的新主人，Constance的新邻居Larry，疯狂地爱上了Constance，他向自己的妻子摊牌，要她们离开，打算和Constance开始新生活，妻子带着2个女儿，在谋杀屋内自焚而亡。

1994年，Constance和Larry住回谋杀屋。

Constance的大儿子beau是一个畸形儿，外貌异常吓人，她把他锁在阁楼里，儿童福利管理署的人马上要把Constance告上法庭，Constance指使Larry憋死了beau。

Constance的二儿子Tate在很小的时候曾在地下室被Thaddeus吓到，当时Nora的灵魂出现安慰了Tate，让年幼的Tate对Nora产生了类似母子的情感连接，（Constance从来不是一个好母亲）。

Tate虽然外貌不畸形，但精神极其不稳定，他不能接受Larry成为他的新爸爸，放火将他的脸烧伤一半，又持枪到学校里射杀无辜的同学若干，最后被警察射杀于自己房间里。

Constance有三个孩子，老大beau畸形，老二Tate精神不稳定，老三Addy是先天愚患者，这栋房子好像诅咒了这个女人，无法有一个正常的孩子，老公和女仆的偷情，让Constance的伤痛雪上加霜。

老大和老二都死去后，她和毁容的Larry分手，带着Addy再次搬到隔壁。

2010年，一对gay夫夫搬进房子。

Tate对Nora一直有类似母子的情感，而Nora最大的执念，就是能再次拥有她的儿子Thaddeus，Tate希望通过自己的努力，满足Nora的愿望。

因此，当这对gay夫夫在一次吵架中决定不再领养孩子后，（两人原本约好买下房子，领养一个孩子，共同生活），Tate杀死了他们，Tate希望房子的新主人，可以给Nora一个孩子。

主线开启：心理医生ben和小提琴家Vivian还有他们的女儿violet来到谋杀屋看房，Vivian刚刚经历了一次流产，又发现丈夫ben和他的学生Hayden在家里偷腥，整个家庭面临破碎，他们希望重新开始，在中介如实转告了gay夫夫的死亡后，因为房子超高的性价比，他们决定买下房子。

谋杀屋的设定是，凡是死在这栋房子里的人，他们的灵魂可以随意在房子里现形，以他们希望的任何样子，但永远无法离开这栋房子。

一家人刚刚搬进房子，丈夫ben就开始出现梦游和纵火的行为，（Larry自焚的妻子所为），Tate为了给Nora一个孩子，穿着黑色橡胶衣强奸了Vivian，（他带着头套让Vivian以为是ben），Vivian怀了孕。

此事之后，Tate却爱上了他们的女儿violet，（ops! Getting really hard.）。

E1：异父双胞胎新屋非常大，Ben决定在家中工作，Constance为Tate预约了ben的咨询治疗，Tate也借此机会，可以名正言顺地在violet面前现形，两人认识。

Violet在新学校的公共区域抽烟，激怒了同学Leah，两人打了起来，Tate叫violet带Leah到地下室，把Thaddeus放出来Leah吓个半死，violet也十分受惊。

Vivian在整理新屋时发现Addy偷偷溜进房子， Constance借带女儿回家之故，和Vivian相识。

Moira以女管家的身份在屋内现形，Vivian雇佣了她。

Larry也在窗外窥视着新搬来的一家人，在ben长跑的时候，Larry上前搭讪，结识了ben。

Vivian和ben因为出轨的事情，长达一年没有亲密关系，在一次激烈的争吵中，两人恢复了激情，Vivian和ben一天之内热恋了两次，但其中有一次，是Tate穿着橡胶衣，蒙面的情况下和Vivian发生的，Vivian怀上了异父双胞胎。

美国版小龙女和尹志平E2：模仿犯罪Ben接待了一个奇怪的女患者，谈话的过程中好像非常了解这栋房子的“谋杀史”。

Hayden打电话给ben说她怀孕了，ben只好对Vivian说谎，离家2天，去陪Hayden打胎。

就在Ben离开的这天晚上，他那个熟悉房子历史的女患者，其实是一位模仿犯罪者，她和另外两名罪犯一起，来到这栋房子，想要模仿1968年杀死护士的罪案，杀死Vivian和violet。

Tate现形帮助violet杀死了3人犯罪团伙，Constance、Tate和Moira三人联手，向Vivian和violet隐瞒了事实，母女二人以为自己奋力反抗，冒险逃走，而杀人犯逃之夭夭，警方开始调查此事。

因为这次袭击，Vivian决定卖掉房子。

E3：Hayden之死Vivian发现他们濒临破产，没办法立刻离开这栋房子。

Ben治疗了一个极其无聊的女患者，在治疗过程中他失去意识，原来Moira一直在他的咖啡里下鸦片酊，她似乎有种执念，认为ben一定会被美色所迷，再次出轨，（她可以决定自己在男人眼中是性感女仆，在女人眼中是老年女仆），从而孜孜不倦地色诱ben。

Nora现形来访了Vivian。

Hayden来到ben家，要他为他们的孩子负责，要和Vivian摊牌，被Larry用铲子拍死在院子里，并把Hayden埋在后院，（这里Larry的动机有点不充足），和当年Constance埋下的Moira的骸骨同坑同穴，（Moira在窗边看着这一切落泪，台词表达的意思好像是如果骸骨不能被找到，她就永远不能离开，可这里有个bug，很多人死后尸体都被带走，也同样不能离开），ben崩溃之余，在这2人的埋藏点上，建起一座凉亭。

E4&E5：万圣节万圣节就要来了，万圣节百鬼夜行，所有的鬼可以在自由空间自由现形。

为了更快的卖出房子，夫妻两人决定请一个装修师，而之前死在房子里的gay夫夫正好就有一个是设计师，他们在屋里现形，结识了Vivian一家人，Vivian在屋里装了警报系统。

Moira在万圣节请假，她想趁此机会去老人院，看看自己的母亲。

当她看到她的母亲奄奄一息躺在病床上，她拔掉了妈妈的呼气管，和妈妈的灵魂再次相见，却无法随妈妈而去，痛苦万分。

万圣节当天，Constance给Addy准备了她梦寐以求的“漂亮姑娘”的装扮，Addy却在要糖的过程中，被车撞死了。

Hayden在屋内现形，怀着报复的心情，告诉Vivian她和ben的事，Vivian受到刺激，腹中的胎儿发生了胎动，夫妻2人来到医院，Vivian腹中的胎儿把做b超的护士吓晕了。

Tate趁着万圣节可以外出，约violet去海边约会，两人相谈甚欢，曾经被Tate射杀的同学们出现，围住2人，并且跟到了violet家中，Tate无奈只好独自离开引走这些人，violet十分迷惑。

Constance找到violet，把她抓回家里，把Addy的死责怪到她头上，并且告诉她Tate是自己的儿子，violet迷惑二重唱。

Hayden继续在房子里纠缠Vivian和ben，ben在两人面前坦白了自己之前的行为，两人也互相得知了对方怀孕的事实，Vivian和ben走到了尽头。

E6：violet之死Violet查到了Tate曾经犯下的案子，她开始看到各种在家里死去的人，彻底崩溃，服用大量安眠药，Tate发现后把她拉进浴缸催吐，企图救她，却失败了。

Violet醒来，并不知道自己已经死了，Tate向她告白。

Ben这次的病人是一个害怕民间鬼故事的大叔，讲起了猪头屠夫的故事。

Ben带着他的病人来到洗手间里重现猪头屠夫的场景，希望借此消除恐惧，但小护士出现了，ben的病人崩溃了。

Ben继续治疗害怕猪头屠夫的病人，病人回到家中，被入室抢劫犯杀死。

Vivian问起了万圣节晕倒的b超师，得知她辞职了。

Vivian找到了b超护士，她们约在教堂见面，护士说在Vivian的肚子里，看到了恶魔的蹄子。

Constance通过通灵师Billie和Addy说话，通灵师告诉Constance，Addy感谢她没有把她带进谋杀屋，她害怕Tate。

E7：开发商之死Vivian得知自己怀得是双胞胎。

一位房地产开发商来看房子，在得知了凶案历史之后仍然很感兴趣，希望把房子推平，改建为停车场或者公寓楼。

Larry也来看房子，他对Constance念念不忘，希望把房子买下，和她重新住进去。

（此处Larry的想法转型有些突然），Larry约Constance在地下室见面，向她告白，告诉她有人想拆了这栋房子。

Constance找到房地产商，发现自己无法阻止他拆除房子，便唆使Moira和Larry杀死他。

Tate和violet和好如初，（violet这心也太大了），Vivian和ben和violet三人都不知道violet已经死去的事实，Tate也没有告诉任何人，夫妻二人以为自己的分手导致violet抑郁，才足不出户，希望violet尽快振作起来。

Violet听到阁楼有声音，上楼查看，被现形的beau吓到，还发现了Nora一家的合影，Vivian来到violet的房间和她谈心，看到Nora一家的合影，认出这个曾经拜访过自己的女人。

nora太美太美太美E8：Vivian离开Vivian因为看到了Nora，也在崩溃的边缘，Vivian认为自己的幻觉是药物所致，Moira安慰了她，并警告她逃走。

（癔病是男人禁锢女人的牢笼，哈哈）。

Vivian企图带女儿逃走，房子里的其他鬼魂当然不肯放2人走，母女二人还没来及逃出大门，就被鬼魂吓了回来。

ben并不相信Vivian的说法，认为她疯了，Tate不让violet讲出鬼魂存在的事，所以violet在Vivian和ben对峙的时候说了谎，（恋爱中的女人，啧啧），Vivian无奈之下，偷了中介的手枪用以自保。

夜晚，Tate为了不让Vivian带走violet，以橡胶人的姿态袭击Vivian，听到声音上楼查看的ben被Vivian用手枪误伤，Hayden再次出现，和Tate一起攻击Vivian，让Vivian更加暴躁，ben只好把Vivian送进了精神病院，而violet非常自责。

Vivian被送往精神病院E9：ben的觉醒Hayden的姐姐和警察一起上门找到ben，谈论Hayden失踪的事，此时Hayden在屋里现形，帮ben洗刷嫌疑，并表示一直等着ben，Ben拒绝了她。

此时黑色大丽花现形来求医，提出用身体还债，Moira也一直在聊骚ben，ben统统拒绝了。

此时Ben接到医生电话，得知Vivian怀的是异父双胞胎，十分失控，他认为另一个孩子是一直以来和Vivian相谈甚欢的保安大哥的。

Ben找到Vivian，放了狠话，告诉她自己不会帮助她离开精神病院，这时Hayden再次现形企图趁虚而入，却被ben又彻底拒绝了一次，恼羞成怒之下，她编造了Vivian和保安大哥的“奸情”。

Ben找到了安保，却得知安保已经失去生育能力5年了，ben开始认识到事情没有这么简单，Moira也终于在ben面前显出了本来的形态。

Constance通过Moira也得知了异父双胞胎的事，她知道另外一个孩子是Tate的，并为此十分气愤。

但同时也认定这个孩子是自己的孙子，希望和模特小男友领养这个孩子，小男友吓傻，两人争吵之后，小男友去找Hayden约炮，激情过后小男友仍然决定回去找Constance，Hayden大怒杀死了他，隔天小男友和曾经的黑色大丽花一样，被人发现在草丛里，（由Larry友情运出）。

Constance和通灵师Billie讨论了如果鬼魂和人类交合，是否会有孩子的问题，Billie告诉她，那将是魔鬼的孩子。

E10：Larry的结局Ben和Vivian达成了共识，要找到强奸Vivian的凶手。

Constance发现小男友死去，并被警察带走。

在警局，Constance顺便默默回忆了一下自己是如何杀死Moira和自己的老公，并把他搅碎喂狗的。

Constance狠狠地拒绝Larry，Larry回到房子里找证据，遇见自焚的妻子和女儿，Larry决定为自己赎罪，认下指证Constance的罪，自我惩罚。

但直到最后，Constance也没有给Larry一句爱过。

Ben发现violet已经16天没有上学，屋子里苍蝇突然多起来，除虫人在地板的夹层里发现了violet的尸体，被Tate杀死。

ben给violet找了一间寄宿学校，（violet智商150，每个学期成绩都是a），被Tate听见。

Tate为了不让violet得知自己已经死去的事实，穿成橡胶人的样子和ben搏斗，过程中ben发现了Tate的真面目，但体力不支晕倒了。

Tate希望violet以自然的方式发现自己已经死了的事实，便哄骗violet和他一起自杀，violet惊醒逃跑，却发现自己永远跑不出这个屋子，Tate只好带她去看自己的尸体。

E11：Vivian分娩Ben去接Vivian出院，此时gay夫夫想要抢走孩子，Nora想要抢走孩子，Constance和Hayden都想要抢走孩子，（真是两个受欢迎的孩子）。

Vivian和ben回到房子里接violet，发现violet已经死去。

此时Vivian只有6个月的身孕开始阵痛，要分娩了，屋子里的鬼魂合力阻止夫妻两人离开房子。

Vivian分娩在即死去的Charles医生和2个护士，全面现形，为Vivian接生，ben完全不知所措，靠妻子生孩子支撑自己的理智，在一边协助。

Vivian的第一胎是ben的，被Charles给了Nora，violet驱逐gay夫夫失败，chad告诉violet，是Tate强奸了她的妈妈，（两个人要到第八季才能和好了）。

Vivian的第二胎是Tate的，被Constance抱走，也就是第八季的小魔王Langton，Vivian死于大出血。

Violet无法原谅Tate，赶走了他，和自己的家人在一起。

E12：happy endingBen终于发现Tate是Constance的儿子，发现Constance一直以来对他们有所隐瞒。

Ben把Vivian的遗腹子带回房子，一边等Vivian的姐姐来接孩子，一边准备自杀，Vivian和violet现形，劝ben离开。

Ben在离开的路上，Hayden和谋杀三人组中的2人吊死了ben。

Constance是第一个发现现场的人，她偷走了小Langton。

这栋房子又被卖出了，Vivian和ben决定赶走新的夫妇房主，因为他们想要一个孩子，（孩子使这所房子里的所有鬼疯狂）。

夜晚，房子又故伎重演，老公梦游，橡胶人（ben）企图强奸老婆，Tate找上了家里的儿子，屋里的鬼们吓死了新主人，（笑死），不过他们顺利离开了这栋房子，可喜可贺。

Tate在被violet拒绝后伤心欲绝，在ben面前现形，希望得到他的帮助，可是作为强奸了他妻子的犯人，ben无法原谅。

Nora虽然领走了Vivian的第一胎，却发现自己根本不是一个做妈妈的料，自行把孩子还给Vivian，一家人死后似乎解决了一切问题，终于得到安宁，而Tate和Hayden，仍然只有无尽的等待。

3年后，Constance发现小Langton杀死了自己的保姆。

<第一季完结>第一季提到的意象有第二季精神病院（Vivian曾经住过的地方）、第五季旅馆（死去的地产开发商）、第六季殖民地冤魂（Billie的驱魔故事）和第四季马戏团（Constance的梦想），并和第八季连接起来。

本剧表面讲的是谋杀屋，一个充满鬼魂游荡的房子，房主频频死于不测的鬼宅，但内里的核心矛盾是堕胎，在基督教内，堕胎是谋杀，是原罪。

在这间因堕胎的罪孽深重产生邪气的房子里，唯一活下来的Constance，算是和Vivian一家人并行的主线角色，她的大儿子丑陋，二儿子邪恶，三女儿愚蠢，并且都早夭，她没有死并不代表房子内的罪孽放过了她，包括收养的小Langton，也没有。

Vivian一家人是地地道道的主线，一家人因故（这种题材多半是因为家庭破碎和房子便宜）搬进鬼屋，女儿见鬼，妈妈见鬼，爸爸心里有鬼，再加上一条怀孕生子的主线和主题相扣，组成了基本故事线。

Violet是个有点阴暗，也十分聪明的女孩，继承了父亲ben的阴暗和母亲Vivian的聪明。

Vivian更多的承载了怀孕这个不可替代的母亲角色，而ben，有点出乎意料的是，居然是人性担当，一个曾经犯过错的男人，在面对大家的质疑和一波波故意的诱惑，反复强调自己对妻子的爱，也曾经误会愤怒伤心，曾经迷茫脆弱几乎再次误入歧途，却最终坚定信念，从一而终，在死后终于让家庭再次圆满，（真是可歌可泣）。

Tate的结局可以预见，不论他如何讨喜，他犯下的罪行不可饶恕，这是原则问题，救不回。

而Hayden，可能是编剧希望告诉广大少女，有家的男人不能碰。

Larry服务剧情的倾向性太强，很多时候动机不足。

Moira作为美色担当，整季的男性荷尔蒙都靠她了，行为和性格的反转使人物层次更加丰富，但和Larry一样，不是主菜。

美恐第一季谋杀屋平台有付费点播。

感觉有点草草结尾啊。

本来上星期看完e11感觉碉堡了，但到这集没有上集高能，甚至没有万圣节那集高能。

设想中本集应该把最后所有的包袱都解开，与前11集呼应而成一个完整的故事。

为什么这件房子里凶案频发？

当然自Harmon一家搬进来以后很多都是旧鬼作恶，尤其是Tate和Hyden。

但之前呢？

大丽花、护士、乃至constance的各种悲剧，我个人只能归于风水不好来解释。

上两集说了很多房子已经装不下更多鬼魂，以及房子锁住鬼魂的奇异力量。

我本来还以为房子会超负荷爆掉（囧）或者说说这股力量的来由，但是没有。

可能是我看的不仔细，但女仆的对哈蒙桑的美人计其实是为了什么？

如果是为了尸骨埋在房子草坪，想入土为安，那其他死在房子的人尸体被搬走了（如哈蒙夫妇）也离不开这屋啊。

再说想移走尸身，随便找些理由翻开草地，告诉Harmon，让他叫人处理骸骨就行了吧。

另外为什么她有变老的一面而其他鬼不会？

渲染了很久的夺子大战没有出现。

Hyden杀Harmon时倒是挺利索的，直到跟constance对飚放狠话时也气场十足，但是男模轻轻一刀加上痴心的微笑，孩子就到康姨手里了。

泄气啊有木有。

话说没看出来男模这么痴心啊。

Nora怨念母亲的形象本来很打动人心，以致Tate大开杀戒，强奸Vivien来为她争取个孩子，都让人觉得虽天理难容，但情有可原，有点柯南式的连环杀手其实往往是为了至亲报仇的唏嘘。

但到了这集，这位怨念的母亲，竟然富太太病发作，嫌孩子烦，就这么把孩子给回Vivien，末了女仆还吐槽了一句“她根本不是当妈的料”。

泄气啊有木有。

我顿时觉得基友二人组死得还真冤。

回过头来，Addy这么出彩的角色，用来说明一下死在屋外就不能还魂就从本剧消失了。

轻轻的走，连云彩一片也没带走啊。

我觉得还是可惜了。

Tate对校园枪击的事什么时候幡然醒悟的？

万圣节那天他还真心认不出受害者啊。

Violet的爱？

没有交代清楚。

还以为Harmon的治疗会让他想起自己的恶行。

而且屠杀校园时也没有化骷髅妆，前几集的闪回骷髅造型只是为了说明Tate的内心反社会啊。

最后happy ending，一家人从此永远幸福快乐地在一起。

是为了圣诞节，所以变成美国温馨故事？

个人认为e11的人鬼殊途，永失挚爱更令人痛心。

吐槽了这么多，都不能否认这部剧之精彩新颖。

语气轻佻，纯属说笑，绝无恶意，希望没有冒犯你心目中的好剧。

看这部剧是因为猎奇，整体感觉很失望，没有什么印象深刻的出彩点。

可能因为是11年出的剧，本身就带有年代感，但是里面凶宅、鬼胎、人鬼情实在是可以称得上烂俗。

无论是恐怖的表现手法还是老套的情节，以及最后结局主角一家幸福的成为鬼魂永生在一起，都让人感到很无奈，整部剧感觉就是把各种恐怖情节拼凑在一起，没有令人震撼的逻辑和精彩的反转剧情，作为一部12集的剧，着实是有点浪费时间。

如果你是恐怖片爱好者，还是不推荐看了。

总之，这就是一部打发时间的狗血肥皂剧（顶着恐怖故事的帽子）。

（by Charlotte Perkins Gilman）It is very seldom that mere ordinary people like John and myself secure ancestral halls for the summer.A colonial mansion, a hereditary estate, I would say a haunted house, and reach the height of romantic felicity--but that would be asking too much of fate!Still I will proudly declare that there is something queer about it.Else, why should it be let so cheaply? And why have stood so long untenanted?John laughs at me, of course, but one expects that in marriage.John is practical in the extreme. He has no patience with faith, an intense horror of superstition, and he scoffs openly at any talk of things not to be felt and seen and put down in figures.John is a physician, and PERHAPS--(I would not say it to a living soul, of course, but this is dead paper and a great relief to my mind)--PERHAPS that is one reason I do not get well faster.You see he does not believe I am sick!And what can one do?If a physician of high standing, and one's own husband, assures friends and relatives that there is really nothing the matter with one but temporary nervous depression--a slight hysterical tendency--what is one to do?My brother is also a physician, and also of high standing, and he says the same thing.So I take phosphates or phosphites--whichever it is, and tonics, and journeys, and air, and exercise, and am absolutely forbidden to "work" until I am well again.Personally, I disagree with their ideas.Personally, I believe that congenial work, with excitement and change, would do me good.But what is one to do?I did write for a while in spite of them; but it DOES exhaust me a good deal--having to be so sly about it, or else meet with heavy opposition.I sometimes fancy that my condition if I had less opposition and more society and stimulus--but John says the very worst thing I can do is to think about my condition, and I confess it always makes me feel bad.So I will let it alone and talk about the house.The most beautiful place! It is quite alone, standing well back from the road, quite three miles from the village. It makes me think of English places that you read about, for there are hedges and walls and gates that lock, and lots of separate little houses for the gardeners and people.There is a DELICIOUS garden! I never saw such a garden--large and shady, full of box-bordered paths, and lined with long grape-covered arbors with seats under them.There were greenhouses, too, but they are all broken now.There was some legal trouble, I believe, something about the heirs and coheirs; anyhow, the place has been empty for years.That spoils my ghostliness, I am afraid, but I don't care--there is something strange about the house--I can feel it.I even said so to John one moonlight evening, but he said what I felt was a DRAUGHT, and shut the window.I get unreasonably angry with John sometimes. I'm sure I never used to be so sensitive. I think it is due to this nervous condition.But John says if I feel so, I shall neglect proper self-control; so I take pains to control myself--before him, at least, and that makes me very tired. I don't like our room a bit. I wanted one downstairs that opened on the piazza and had roses all over the window, and such pretty old-fashioned chintz hangings! but John would not hear of it.He said there was only one window and not room for two beds, and no near room for him if he took another.He is very careful and loving, and hardly lets me stir without special direction.I have a schedule prescription for each hour in the day; he takes all care from me, and so I feel basely ungrateful not to value it more.He said we came here solely on my account, that I was to have perfect rest and all the air I could get. "Your exercise depends on your strength, my dear," said he, "and your food somewhat on your appetite; but air you can absorb all the time." So we took the nursery at the top of the house.It is a big, airy room, the whole floor nearly, with windows that look all ways, and air and sunshine galore. It was nursery first and then playroom and gymnasium, I should judge; for the windows are barred for little children, and there are rings and things in the walls.The paint and paper look as if a boys' school had used it. It is stripped off--the paper--in great patches all around the head of my bed, about as far as I can reach, and in a great place on the other side of the room low down. I never saw a worse paper in my life.One of those sprawling flamboyant patterns committing every artistic sin.It is dull enough to confuse the eye in following, pronounced enough to constantly irritate and provoke study, and when you follow the lame uncertain curves for a little distance they suddenly commit suicide--plunge off at outrageous angles, destroy themselves in unheard of contradictions.The color is repelllent, almost revolting; a smouldering unclean yellow, strangely faded by the slow-turning sunlight.It is a dull yet lurid orange in some places, a sickly sulphur tint in others.No wonder the children hated it! I should hate it myself if I had to live in this room long.There comes John, and I must put this away,he hates to have me write a word.We have been here two weeks, and I haven't felt like writing before, since that first day.I am sitting by the window now, up in this atrocious nursery, and there is nothing to hinder my writing as much as I please, save lack of strength.John is away all day, and even some nights when his cases are serious. I am glad my case is not serious!But these nervous troubles are dreadfully depressing.John does not know how much I really suffer. He knows there is noREASON to suffer, and that satisfies him.Of course it is only nervousness. It does weigh on me so not to do myduty in any way!I meant to be such a help to John, such a real rest and comfort, andhere I am a comparative burden already!Nobody would believe what an effort it is to do what little I am able,to dress and entertain, and other things.It is fortunate Mary is so good with the baby. Such a dear baby!And yet I CANNOT be with him, it makes me so nervous.I suppose John never was nervous in his life. He laughs at me so about this wall-paper!At first he meant to repaper the room, but afterwards he said that I was letting it get the better of me, and that nothing was worse for a nervous patient than to give way to such fancies.He said that after the wall-paper was changed it would be the heavy bedstead, and then the barred windows, and then that gate at the head of the stairs, and so on."You know the place is doing you good," he said, "and really, dear, I don't care to renovate the house just for a three months' rental.""Then do let us go downstairs," I said, "there are such pretty rooms there."Then he took me in his arms and called me a blessed little goose, and said he would go down to the cellar, if I wished, and have it whitewashed into the bargain.But he is right enough about the beds and windows and things.It is an airy and comfortable room as any one need wish, and, of course, I would not be so silly as to make him uncomfortable just for a whim.I'm really getting quite fond of the big room, all but that horrid paper.Out of one window I can see the garden, those mysterious deepshaded arbors, the riotous old-fashioned flowers, and bushes and gnarly trees.Out of another I get a lovely view of the bay and a little private wharf belonging to the estate. There is a beautiful shaded lane that runs down there from the house. I always fancy I see people walking in these numerous paths and arbors, but John has cautioned me not to give way to fancy in the least. He says that with my imaginative power and habit of story-making, a nervous weakness like mine is sure to lead to all manner of excited fancies, and that I ought to use my will and good sense to check the tendency. So I try.I think sometimes that if I were only well enough to write a little it would relieve the press of ideas and rest me.But I find I get pretty tired when I try.It is so discouraging not to have any advice and companionship aboutmy work. When I get really well, John says we will ask Cousin Henry and Julia down for a long visit; but he says he would as soon put fireworks in my pillow-case as to let me have those stimulating people about now.I wish I could get well faster.But I must not think about that. This paper looks to me as if it KNEW what a vicious influence it had!There is a recurrent spot where the pattern lolls like a broken neck and two bulbous eyes stare at you upside down.I get positively angry with the impertinence of it and the everlastingness. Up and down and sideways they crawl, and those absurd, unblinking eyes are everywhere. There is one place where two breadths didn't match, and the eyes go all up and down the line, one a little higher than the other.I never saw so much expression in an inanimate thing before, and we all know how much expression they have! I used to lie awake as a child and get more entertainment and terror out of blank walls and plain furniture than most children could find in a toy store.I remember what a kindly wink the knobs of our big, old bureau used to have, and there was one chair that always seemed like a strong friend.I used to feel that if any of the other things looked too fierce I could always hop into that chair and be safe.The furniture in this room is no worse than inharmonious, however, for we had to bring it all from downstairs. I suppose when this was used as a playroom they had to take the nursery things out, and no wonder! I never saw such ravages as the children have made here.The wall-paper, as I said before, is torn off in spots, and it sticketh closer than a brother--they must have had perseverance as well as hatred.Then the floor is scratched and gouged and splintered, the plaster itself is dug out here and there, and this great heavy bed which is all we found in the room, looks as if it had been through the wars.But I don't mind it a bit--only the paper. There comes John's sister. Such a dear girl as she is, and so careful of me! I must not let her find me writing.She is a perfect and enthusiastic housekeeper, and hopes for no better profession. I verily believe she thinks it is the writing which made me sick!But I can write when she is out, and see her a long way off from these windows.There is one that commands the road, a lovely shaded winding road, and one that just looks off over the country. A lovely country, too, full of great elms and velvet meadows.This wall-paper has a kind of sub-pattern in a different shade, a particularly irritating one, for you can only see it in certain lights, and not clearly then.But in the places where it isn't faded and where the sun is just so--I can see a strange, provoking, formless sort of figure, that seems to skulk about behind that silly and conspicuous front design.There's sister on the stairs!Well, the Fourth of July is over! The people are gone and I am tiredout. John thought it might do me good to see a little company, so we just had mother and Nellie and the children down for a week.Of course I didn't do a thing. Jennie sees to everything now.But it tired me all the same.John says if I don't pick up faster he shall send me to Weir Mitchell inthe fall.But I don't want to go there at all. I had a friend who was in his handsonce, and she says he is just like John and my brother, only more so! Besides, it is such an undertaking to go so far.I don't feel as if it was worth while to turn my hand over for anything,and I'm getting dreadfully fretful and querulous.I cry at nothing, and cry most of the time.Of course I don't when John is here, or anybody else, but when I amalone.And I am alone a good deal just now. John is kept in town very oftenby serious cases, and Jennie is good and lets me alone when I want her to.So I walk a little in the garden or down that lovely lane, sit on the porch under the roses, and lie down up here a good deal.I'm getting really fond of the room in spite of the wall-paper. Perhaps BECAUSE of the wall-paper.It dwells in my mind so!I lie here on this great immovable bed--it is nailed down, I believe-- and follow that pattern about by the hour. It is as good as gymnastics, I assure you. I start, we'll say, at the bottom, down in the corner over there where it has not been touched, and I determine for the thousandth time that I WILL follow that pointless pattern to some sort of a conclusion.I know a little of the principle of design, and I know this thing was not arranged on any laws of radiation, or alternation, or repetition, or symmetry, or anything else that I ever heard of.It is repeated, of course, by the breadths, but not otherwise.Looked at in one way each breadth stands alone, the bloated curves and flourishes--a kind of "debased Romanesque" with delirium tremens-- go waddling up and down in isolated columns of fatuity.But, on the other hand, they connect diagonally, and the sprawling outlines run off in great slanting waves of optic horror, like a lot of wallowing seaweeds in full chase.The whole thing goes horizontally, too, at least it seems so, and I exhaust myself in trying to distinguish the order of its going in that direction.They have used a horizontal breadth for a frieze, and that adds wonderfully to the confusion.There is one end of the room where it is almost intact, and there, when the crosslights fade and the low sun shines directly upon it, I can almost fancy radiation after all,--the interminable grotesques seem to form around a common centre and rush off in headlong plunges of equal distraction.It makes me tired to follow it. I will take a nap I guess. I don't know why I should write this.I don't want to.I don't feel able.And I know John would think it absurd. But I MUST say what I feel and think in some way--it is such a relief!But the effort is getting to be greater than the relief.Half the time now I am awfully lazy, and lie down ever so much.John says I musn't lose my strength, and has me take cod liver oil andlots of tonics and things, to say nothing of ale and wine and rare meat. Dear John! He loves me very dearly, and hates to have me sick. I tried to have a real earnest reasonable talk with him the other day, and tell him how I wish he would let me go and make a visit to Cousin Henry and Julia.But he said I wasn't able to go, nor able to stand it after I got there; and I did not make out a very good case for myself, for I was crying before I had finished.It is getting to be a great effort for me to think straight. Just this nervous weakness I suppose.And dear John gathered me up in his arms, and just carried me upstairs and laid me on the bed, and sat by me and read to me till it tired my head.He said I was his darling and his comfort and all he had, and that I must take care of myself for his sake, and keep well.He says no one but myself can help me out of it, that I must use my will and self-control and not let any silly fancies run away with me.There's one comfort, the baby is well and happy, and does not have to occupy this nursery with the horrid wall-paper.If we had not used it, that blessed child would have! What a fortunate escape! Why, I wouldn't have a child of mine, an impressionable little thing, live in such a room for worlds.I never thought of it before, but it is lucky that John kept me here after all, I can stand it so much easier than a baby, you see.Of course I never mention it to them any more--I am too wise,--but I keep watch of it all the same.There are things in that paper that nobody knows but me, or ever will. Behind that outside pattern the dim shapes get clearer every day.It is always the same shape, only very numerous.And it is like a woman stooping down and creeping about behind thatpattern. I don't like it a bit. I wonder--I begin to think--I wish John would take me away from here!It is so hard to talk with John about my case, because he is so wise,and because he loves me so.But I tried it last night.It was moonlight. The moon shines in all around just as the sun does.I hate to see it sometimes, it creeps so slowly, and always comes in byone window or another.John was asleep and I hated to waken him, so I kept still and watchedthe moonlight on that undulating wall-paper till I felt creepy.The faint figure behind seemed to shake the pattern, just as if shewanted to get out.I got up softly and went to feel and see if the paper DID move, andwhen I came back John was awake."What is it, little girl?" he said. "Don't go walking about like that--you'll get cold."I though it was a good time to talk, so I told him that I really was notgaining here, and that I wished he would take me away."Why darling!" said he, "our lease will be up in three weeks, and Ican't see how to leave before."The repairs are not done at home, and I cannot possibly leave townjust now. Of course if you were in any danger, I could and would, but you really are better, dear, whether you can see it or not. I am a doctor, dear, and I know. You are gaining flesh and color, your appetite is better, I feel really much easier about you.""I don't weigh a bit more," said I, "nor as much; and my appetite may be better in the evening when you are here, but it is worse in the morning when you are away!""Bless her little heart!" said he with a big hug, "she shall be as sick as she pleases! But now let's improve the shining hours by going to sleep, and talk about it in the morning!""And you won't go away?" I asked gloomily."Why, how can I, dear? It is only three weeks more and then we will take a nice little trip of a few days while Jennie is getting the house ready. Really dear you are better!""Better in body perhaps--" I began, and stopped short, for he sat up straight and looked at me with such a stern, reproachful look that I could not say another word."My darling," said he, "I beg of you, for my sake and for our child's sake, as well as for your own, that you will never for one instant let that idea enter your mind! There is nothing so dangerous, so fascinating, to a temperament like yours. It is a false and foolish fancy. Can you not trust me as a physician when I tell you so?"So of course I said no more on that score, and we went to sleep before long. He thought I was asleep first, but I wasn't, and lay there for hours trying to decide whether that front pattern and the back pattern really did move together or separately.On a pattern like this, by daylight, there is a lack of sequence, a defiance of law, that is a constant irritant to a normal mind. The color is hideous enough, and unreliable enough, and infuriating enough, but the pattern is torturing.You think you have mastered it, but just as you get well underway in following, it turns a back-somersault and there you are. It slaps you in the face, knocks you down, and tramples upon you. It is like a bad dream.The outside pattern is a florid arabesque, reminding one of a fungus. If you can imagine a toadstool in joints, an interminable string of toadstools, budding and sprouting in endless convolutions--why, that is something like it.That is, sometimes!There is one marked peculiarity about this paper, a thing nobody seems to notice but myself,and that is that it changes as the light changes.When the sun shoots in through the east window--I always watch for that first long, straight ray--it changes so quickly that I never can quite believe it.That is why I watch it always.By moonlight--the moon shines in all night when there is a moon--I wouldn't know it was the same paper.At night in any kind of light, in twilight, candle light, lamplight, and worst of all by moonlight, it becomes bars! The outside pattern I mean,and the woman behind it is as plain as can be.I didn't realize for a long time what the thing was that showed behind,that dim sub-pattern, but now I am quite sure it is a woman.By daylight she is subdued, quiet. I fancy it is the pattern that keepsher so still. It is so puzzling. It keeps me quiet by the hour.I lie down ever so much now. John says it is good for me, and to sleepall I can.Indeed he started the habit by making me lie down for an hour aftereach meal.It is a very bad habit I am convinced, for you see I don't sleep.And that cultivates deceit, for I don't tell them I'm awake--O no!The fact is I am getting a little afraid of John.He seems very queer sometimes, and even Jennie has an inexplicablelook.It strikes me occasionally, just as a scientific hypothesis,--that perhapsit is the paper!I have watched John when he did not know I was looking, and comeinto the room suddenly on the most innocent excuses, and I've caught him several times LOOKING AT THE PAPER! And Jennie too. I caught Jennie with her hand on it once.She didn't know I was in the room, and when I asked her in a quiet, a very quiet voice, with the most restrained manner possible, what she was doing with the paper--she turned around as if she had been caught stealing, and looked quite angry--asked me why I should frighten her so!Then she said that the paper stained everything it touched, that she had found yellow smooches on all my clothes and John's, and she wished we would be more careful!Did not that sound innocent? But I know she was studying that pattern, and I am determined that nobody shall find it out but myself!Life is very much more exciting now than it used to be. You see I have something more to expect, to look forward to, to watch. I really do eat better, and am more quiet than I was.John is so pleased to see me improve! He laughed a little the other day, and said I seemed to be flourishing in spite of my wall-paper.I turned it off with a laugh. I had no intention of telling him it was BECAUSE of the wall-paper--he would make fun of me. He might even want to take me away.I don't want to leave now until I have found it out. There is a week more, and I think that will be enough.I'm feeling ever so much better! I don't sleep much at night, for it is so interesting to watch developments; but I sleep a good deal in the daytime.In the daytime it is tiresome and perplexing.There are always new shoots on the fungus, and new shades of yellow all over it. I cannot keep count of them, though I have tried conscientiously.It is the strangest yellow, that wall-paper! It makes me think of all the yellow things I ever saw--not beautiful ones like buttercups, but old foul, bad yellow things.But there is something else about that paper--the smell! I noticed it the moment we came into the room, but with so much air and sun it was not bad. Now we have had a week of fog and rain, and whether the windows are open or not, the smell is here.It creeps alll over the house.I find it hovering in the dining-room, skulking in the parlor, hiding in the hall, lying in wait for me on the stairs.It gets into my hair.Even when I go to ride, if I turn my head suddenly and surprise it-- there is that smell!Such a peculiar odor, too! I have spent hours in trying to analyze it, to find what it smelled like.It is not bad--at first, and very gentle, but quite the subtlest, most enduring odor I ever met.In this damp weather it is awful, I wake up in the night and find it hanging over me.It used to disturb me at first. I thought seriously of burning the house-- to reach the smell.But now I am used to it. The only thing I can think of that it is like is the COLOR of the paper! A yellow smell.There is a very funny mark on this wall, low down, near the mopboard.A streak that runs round the room. It goes behind every piece of furniture, except the bed, a long, straight, even SMOOCH, as if it had been rubbed over and over.I wonder how it was done and who did it, and what they did it for. Round and round and round--round and round and round--it makes me dizzy!I really have discovered something at last.Through watching so much at night, when it changes so, I have finallyfound out.The front pattern DOES move--and no wonder! The woman behindshakes it!Sometimes I think there are a great many women behind, andsometimes only one, and she crawls around fast, and her crawling shakes it all over.Then in the very bright spots she keeps still, and in the very shady spots she just takes hold of the bars and shakes them hard.And she is all the time trying to climb through. But nobody could climb through that pattern--it strangles so; I think that is why it has so many heads.They get through, and then the pattern strangles them off and turns them upside down, and makes their eyes white!If those heads were covered or taken off it would not be half so bad. I think that woman gets out in the daytime!And I'll tell you why--privately--I've seen her!I can see her out of every one of my windows!It is the same woman, I know, for she is always creeping, and mostwomen do not creep by daylight.I see her on that long road under the trees, creeping along, and when a carriage comes she hides under the blackberry vines.I don't blame her a bit. It must be very humiliating to be caughtcreeping by daylight!I always lock the door when I creep by daylight. I can't do it at night,for I know John would suspect something at once.And John is so queer now, that I don't want to irritate him. I wish hewould take another room! Besides, I don't want anybody to get that woman out at night but myself.I often wonder if I could see her out of all the windows at once.But, turn as fast as I can, I can only see out of one at a time.And though I always see her, she MAY be able to creep faster than Ican turn!I have watched her sometimes away off in the open country, creepingas fast as a cloud shadow in a high wind.If only that top pattern could be gotten off from the under one! I meanto try it, little by little.I have found out another funny thing, but I shan't tell it this time! Itdoes not do to trust people too much.There are only two more days to get this paper off, and I believe Johnis beginning to notice. I don't like the look in his eyes.And I heard him ask Jennie a lot of professional questions about me.She had a very good report to give.She said I slept a good deal in the daytime.John knows I don't sleep very well at night, for all I'm so quiet!He asked me all sorts of questions, too, and pretended to be veryloving and kind.As if I couldn't see through him!Still, I don't wonder he acts so, sleeping under this paper for threemonths.It only interests me, but I feel sure John and Jennie are secretlyaffected by it.Hurrah! This is the last day, but it is enough. John is to stay in townover night, and won't be out until this evening.Jennie wanted to sleep with me--the sly thing! but I told her I shouldundoubtedly rest better for a night all alone.That was clever, for really I wasn't alone a bit! As soon as it wasmoonlight and that poor thing began to crawl and shake the pattern, I got up and ran to help her.I pulled and she shook, I shook and she pulled, and before morning we had peeled off yards of that paper.A strip about as high as my head and half around the room.And then when the sun came and that awful pattern began to laugh at me, I declared I would finish it to-day!We go away to-morrow, and they are moving all my furniture down again to leave things as they were before.Jennie looked at the wall in amazement, but I told her merrily that I did it out of pure spite at the vicious thing.She laughed and said she wouldn't mind doing it herself, but I must not get tired.How she betrayed herself that time!But I am here, and no person touches this paper but me--not ALIVE! She tried to get me out of the room--it was too patent! But I said it wasso quiet and empty and clean now that I believed I would lie down again and sleep all I could; and not to wake me even for dinner--I would call when I woke.So now she is gone, and the servants are gone, and the things are gone, and there is nothing left but that great bedstead nailed down, with the canvas mattress we found on it.We shall sleep downstairs to-night, and take the boat home to-morrow. I quite enjoy the room, now it is bare again.How those children did tear about here!This bedstead is fairly gnawed!But I must get to work.I have locked the door and thrown the key down into the front path.I don't want to go out, and I don't want to have anybody come in, tillJohn comes.I want to astonish him.I've got a rope up here that even Jennie did not find. If that womandoes get out, and tries to get away, I can tie her!But I forgot I could not reach far without anything to stand on!This bed will NOT move!I tried to lift and push it until I was lame, and then I got so angry I bit off a little piece at one corner--but it hurt my teeth.Then I peeled off all the paper I could reach standing on the floor. Itsticks horribly and the pattern just enjoys it! All those strangled heads and bulbous eyes and waddling fungus growths just shriek with derision!I am getting angry enough to do something desperate. To jump out of the window would be admirable exercise, but the bars are too strong even to try.Besides I wouldn't do it. Of course not. I know well enough that a step like that is improper and might be misconstrued.I don't like to LOOK out of the windows even--there are so many of those creeping women, and they creep so fast.I wonder if they all come out of that wall-paper as I did?But I am securely fastened now by my well-hidden rope--you don't get ME out in the road there!I suppose I shall have to get back behind the pattern when it comes night, and that is hard!It is so pleasant to be out in this great room and creep around as I please!I don't want to go outside. I won't, even if Jennie asks me to.For outside you have to creep on the ground, and everything is green instead of yellow.But here I can creep smoothly on the floor, and my shoulder just fits in that long smooch around the wall, so I cannot lose my way.Why there's John at the door!It is no use, young man, you can't open it!How he does call and pound!Now he's crying for an axe.It would be a shame to break down that beautiful door!"John dear!' said I in the gentlest voice, "the key is down by the frontsteps, under a plantain leaf!"That silenced him for a few moments.Then he said--very quietly indeed, "Open the door, my darling!""I can't", said I. "The key is down by the front door under a plantainleaf!"And then I said it again, several times, very gently and slowly, and said it so often that he had to go and see, and he got it of course, and came in. He stopped short by the door."What is the matter?" he cried. "For God's sake, what are you doing!"I kept on creeping just the same, but I looked at him over my shoulder. "I've got out at last," said I, "in spite of you and Jane. And I've pulledoff most of the paper, so you can't put me back!"Now why should that man have fainted? But he did, and right acrossmy path by the wall, so that I had to creep over him every time!

最近迷上了《美国恐怖故事》，痴醉啊!简直就是一部恐怖大全啊！

故事从美国一个普通的中产三口之家，女主人VIVIAN第二个孩子流产后，丈夫BEN是一个优秀的心理医生， 但却因为劈腿，一家和谐全部被毁，于是BEN决定搬到一个新地方来治愈支离破碎的家庭，让妻子重新接纳他，并开始新的生活，于是他们一家三口搬到了这幢维多利亚时代的大豪宅， 这是上世纪20年代一位著名的外科医生为他的爱妻造的一栋大房子，当然中介并没有告诉他们外科医生同他的妻子在上个世纪全家都死在那里，还算人品不坏的中介只是告诉他们上一对同性恋屋主被谋杀在这房子里。

好吧！

百无禁忌的HARMON一家就这样搬进来了，为我们展开了一幅百鬼众生相，BEN迎来了第一位病人，一个像天使一样的金发美少年TATE，也成了女儿VIOLET的知心朋友，有了一个老喜欢没事就闯到他们家的弱智女孩艾迪，无论VIVIAN怎么锁好门， 她总有办法闯进来，她说这里有她的朋友们，而她异常强悍而虚荣诡异的母亲，似乎知道一切秘密，却在她们刚搬进来想用紫罗兰蛋糕毒死VIOLET , 当然后来这蛋糕竟然帮助他们躲过了三个变态杀手狂热爱好者的屠杀。

渐渐地VIVIAN发现了墙纸覆盖下可怕的油画，BEN的梦游，不时有奇奇怪怪的人们反复出现，最后他们终于发现了秘密，原来凡是死在这个大屋里的灵魂永远没有上天堂或是下地狱的机会，将永远地被一股邪恶而强大的力量囚禁在这里，善良的鬼魂反复地在恶梦中哭泣，而邪恶的灵魂则不停地琢磨着怎么再去伤害活着的人们。

我花了三天时间看完两遍, 不觉惊叹于编剧的功底，整部电视剧没一句废话，没一个多余的情节，每集的开始常以一件美国历史上著名的谋杀案为序幕，其中有我们非常熟悉的黑色大理花谋案，那些谋杀案都跟历界屋主有着直接或间接的关系， 导演聪明地把这些精典案例的发生点全挪到我们精致的大屋来，或者开头也会以前任屋主的小故事作为引子，哪怕一个几秒钟的细节闪过，看似无关而莫名其妙，其实也在暗示观众并推动着情节有力的发展，到最后全部成功地串联了起来，我看了第三遍才摸清了所有情节，谁杀了谁，为什么要杀。

这幢维多利亚时代的豪华鬼屋， 一群个性鲜明的鬼魂和几个各怀鬼胎的人类，剥开惊悚地外衣，鬼屋中上演着一场关于人伦责任和生活勇气的故事。

看到最后，只感到略带凄凉而温暖的伤感。

就像BEN犀利地道出的真谛：我也不是一个好人，我本该深深爱护的人们却重重地伤了她们，日复一日，月复一月，年复一年，我们收着钱，其实我们心里知道，我们根本无法治愈世人，世人只是没有办法去面对生活的烂摊子，道歉容易，责任却难。

须知这世上最困难的就是面对我做过的错事和艰难的生活，多少人选择逃避或是麻木的生活？

所以我们的大魔头TATE，这个魅丽非凡，惹人注目但心理严重失常的精神病患者（BEN的诊断原话），一直故意选择忘记自己为什么害了这么多人， 当VIOLET问他时，他甚至委屈地留着眼泪，懵然地反问道：“是啊，我为什么害了这么多人呢？

”其实他全都记得。

好在我们的大魔头终于懂得什么是爱, 并且敢于面对自己，勇敢地含泪说出自己曾经的恶行,这是我们现代很多国人所没有的勇气啊!拥挤的鬼屋因为HARMON一家的加入，也渐渐起了变化，美少年TATE爱上了VIOLET, VIVIAN怀上了双手子，那位NORA夫人一直为前世的丧子之痛，最后终于得到了VIVIAN难产而逝的孩子，但却疲于照顾那个孩子，这多少有点现实意义的黑色幽默和无奈，哦！

原来鬼妈也会烦恼带孩子，然而当孩子在VIVIAN的怀抱里停止啼哭时，这个大豪宅里最古老的鬼魂，经过近一个世纪的挣扎，痛苦，也终于平静了下来，微笑地说出了心声，我要好好休息一下，也许我并不适合照顾孩子，这时的音乐已换成了极舒缓平和的金钢琴曲目，仿佛历经大暴风雨后，在金色的阳光下，水手将船泊在风平浪静的海面上，幸福而悠亲地钓着鱼。

那个莫拉管家，在男性眼中，性感挑逗，在女性眼中，精干丑陋，真是个写实意义和略带淘气的女鬼，当她成为维安孩子的教母，她终于露出了全剧第一个温柔的微笑，相信她的鬼生终于不一样了，不再绝望。

全剧的亮点在于，HARMON一家生前一直梦想的幸福，意外地竟在这幢给他们带来苦难的鬼屋里实现了， VIOLET最后可以平静而快乐地享受父母的天伦之乐， VIVIAN不再承受丧子之痛，而BEN得到了妻女的原谅，得到了心中久违的家庭的温暖和快乐，我们很难在前十一集沉重，恐怖以及心慌的那幢古宅中最后亮起了温暖的圣诞树，在西方人的眼中，那是累似于中国人春节情节的团聚和喜气，BEN对VIVIAN微笑着说道：“也许你不相信，但是现在的我很快乐。

”听说第二季要换到精神病院了，演员基本都换了，但那位怪邻居大妈兼鬼妈康斯坦丝还是主演，第一季中她的出色表演给观众留下深刻印象，我一开始总是不明白，为什么康斯坦丝没见几次VIOLET就要毒死她, 她甚至都不怎么认识她，后来才明白了，她是想让VIOLET死在这屋里，可以永远陪伴着自己孤独的儿子，内心深处也是出于母亲的大爱。

她每次一出场她的表演就同那背景音乐神奇而完美地契合在一起，好像她天生就是来演这个悲情而可恨的角色的， 那气场那惊艳，连鬼都怕她三分哪， 不亏是奥丝卡影后杰西卡-兰格，她是本剧重要的灵魂所在之一。

精神病院里可能就没有豪宅，没有性感善良的莫拉，没有天使与恶魔混合体的泰特，真挺可惜的，但是相信那里会更有恐怖故事挖掘的空间，但个人觉得，究竟还是维多利或是哥特风格的大豪宅里更有历史的凝重感，蕴藏着更多香艳和离奇的故事，永恒地等待着人们的想象和膜拜。

我很是希望还是以那幢房子继续故事，其实还可以编一堆故事呢，如同里面少有的黑色幽默片断，导游车上女主和房中介一起在车上听着导游激动地加重语气介她们的房子：THE MURDER HOUSE! 房中介终于兴奋地说道：我终于明白了，无论这房子死多少人，看来我总有办法卖得了它。

有一位网友ottilie说道： 这其实并不是恐怖片啊，主旨不在恐怖，说的其实是各种得不到的爱啊，生者不得安宁，逝者不愿安息。

鬼魂与人类共通的地方，也是我们故事开始的源头：无法弥补的遗憾， 巨大的痛苦， 无尽的孤独和人性的贪婪。

其实恐怖片之所以吓人，是源于我们对未知世界的恐惧，而那些深沉而黑暗的未知世界里，所隐藏的其实最终是人内心深处最大的秘密罢了, 和欲望不得实现时最直接的绝望狂燥罢了。

与其说这是一部好看的恐怖电视连续剧，不如说是一部深沉地关于人伦，责任和爱的故事。

生者的时间太短暂而无法承受太多的痛苦， 然而在这幢维多利亚时代的豪宅中鬼魂们有了永恒的时间来追求，来思考， 来面对无法实现的绝望的鬼生。

原以为该剧恐怖不敢看，但对凶宅的题材又爱又害怕，那种未知的压抑的带有历史气息的神秘气氛很诱人，最后下定决心在春节里看了，想让喜气洋洋的气氛掩盖一些恐怖的元素，结果还是没有颠覆我对美国所谓恐怖片的认知，亚洲恐怖片才称的上恐怖两字，美剧惊悚两字就顶天。

本剧前几集还有悬疑的味道，后面竟然拍出了喜感，特别是随着一个一个鬼被困在凶宅里，从中看到了大家庭互帮互助的温暖，当众鬼齐心协力为男大丽花想办法出名的时候，我直接笑出了声。

虽然剧情新意不够，但就如之前所说，凶宅的题材本身具有吸引力，剧把凶宅和一些著名案件揉合在一起又增加了可看性，前几集逻辑也不错，节奏也不拖，男女主角努力改善家庭现状也符合美国主流价值观，但后半部分的画风跑偏，情节马马虎虎只是按惯性模式往下走，缺乏想象力，完全猜出剧情走向，悬疑两字彻底消失。

演员，年轻女管家的扮相又古典又色情，这样的矛盾集合体会迷死一堆观众；邻居Constance虽已至中年，但依旧妖艳迷人，演技赞。

扮演鬼医生、医生夫人、被烧伤男人、老年女管家的演员们，演技都是游刃有余。

原来只是个短评，结果超了字数。

貌似是在聊起电锯惊魂之流的时候同事向我推荐了这部《美国恐怖故事》，辞职之后终于有时间来看了，看之前我还问他这是恐怖的还是恶心的，他说都有点吧，现在我看完了，我想说这美剧既不恐怖也不恶心，而是带点煽情的感人。

首先我在第一集里看到那个似人非人的怪物长的很像哈利波特的妖精老师我就觉得这没什么恐怖的了╮(╯_╰)╭然后当女仆望着自己的遗骸哭泣的时候我也哭了，还有后来她去看望自己母亲时我也哭了，多煽情啊，哪恐怖了？

还有被砍成两段的“大丽花”、崔维斯、两个满脸伤痕的捣蛋男孩、被烧死的母女三人……我只能说化妆技术还不错，但要说恐怖或者恶心，完全没有超越电锯惊魂、心慌方、死神来了之类的片子，算是小清新的了╮(╯_╰)╭另外一开始死的那俩捣蛋男孩在死的时候背景音乐居然是欢快的tonight you belong to me，太诙谐了好吗= =最早的那个大夫是害死了24位来堕胎的少女是吗？

那加上她们的孩子，这房子在最初就先死了48个无辜的人。

后来林林总总又死了29个人，所以这儿能不成凶宅吗╮(╯_╰)╭但貌似死去的人里好人占大多数，其中tate杀了几个人都是为了给nora一个孩子，真是莫名其妙的理由= =我是觉得如果跟这些鬼魂和平共处就好了嘛，一家子人多么地热闹啊，何必打打杀杀，那些好鬼很可怜的啊，每人一部心酸史啊，更应该好好对待它们啊╮(╯_╰)╭这片子的世界观可是死了就永生了诶，我靠那些鬼除了不能走出那房子干什么都行啊，尼玛生孩子都行啊，太牛逼了，而且说句go away就走开了，多好收拾啊。

卖房子的时候就应该说，这里面有多少多少鬼，都是怎么死的，哪些是好的哪些是坏的，好的可以帮你，坏的就让它们go away，世界和平啊简直！

第九集结尾居然出来个末日论啊尼玛，一口老血都要喷出来了好吗，还能再扯一点吗，一下子就联想到当年X档案结尾的时候Scully生下的疑似外星人之子啊。

不过他们那个是救世主，你们这个是魔鬼啊，魔鬼啊好吗，3岁杀人就那么开心鸟，我靠对方是一个肥婆啊，3岁的娃娃怎么做到割喉的啊，一屋子的血呦，从楼下拖到楼上了咩，好劲爆\(^o^)/“人类和灵魂结合所诞生的孩子将引发世界的终结，这就是邪恶本质。

”尼玛这都撼动基督教了好吗？

2012要来了是吗，小魔鬼将开启地狱之门是吗，好期待第二季呢，哎呀呀，终于要变玄幻了呢\(^o^)/尼玛，真的够了！！

→_→房子里的死鬼越来越多了，不过它们再那么闹下去肯定不会有人再去买再去住了，所以我只关心那个小崽子。

只是来吐槽啦，我要看的美剧们还没回归，只好捞到什么看什么了╮(╯_╰)╭over

首先这部剧作为恐怖类型的美剧 算是独树一帜但是一般来说 恐怖片的内容起承转合都很分明 但是要放到几十分钟的剧集里面 外加要切割成13集 这就不得不说是对观众审恐固定模式的一种大胆挑战了看了第一集 感觉不是很出彩 编剧导演倒是有些自己的想法 但是单纯作为一部剧集的第一集 显得不是那么抓人 剪辑手法也显得比较奇怪在拒绝剧透的同时 我感觉片子还是比较有特点 值得去看 不值得去追就是了

很少看美剧，唯一看过的美剧只有行尸走肉和超能家庭，行尸的讲述人性的挣扎，到后期也越来越冗余，超能家庭其实是好剧，无奈被砍，草草收尾，可见要拍好一部迷你剧是多难，更何况要把握好节奏和剧情也是很难的。

美恐的故事其实就是一个大杂烩，在鬼屋的主线上，埋下了各种恐怖故事的副线故事，巧妙的节奏把握，每一集清晰的主线故事附带过往错乱时间线的副线故事，比如被假装受伤的变态杀手残忍杀害的护士2人组，同性恋的恋人，虽然我觉得同性恋恋人这条线在后期几乎是没什么存在的必要，很显然编剧想要导出一个复杂却又精致的故事，给每个人几乎都安排了存在的必要，像护士是为了引出现代报复社会模仿变态杀手的3人组，同性恋恋人是为了引出后期V知道泰德强奸了她的母亲，以及最后装修婴儿房的血红色婴儿床也是在暗示着鬼魂与人类结婚的鬼胎，虽然这些角色其实可有可无，就算剔除了也不会让故事出现多大的问题。

不过高明的剧情难免也会有漏洞，一方面剧情明示暗示鬼魂是无法离开房子的，可是在白天不是万圣节的时候，泰德曾约本出去喝咖啡。

V和泰德联手吓唬她的同学，结果同学却不在意，还和V成为了类似好朋友的存在，剧情的过渡不够自然，而且V还轻易的原谅了泰德，并成为了男女朋友。

女仆在男人眼里是魅惑的年轻女性，在女性眼里是年老的妇女这个设定很有亮点，明示暗示着剧情的许多伏笔，但是后期说明女仆的诱惑仅仅只是为了让本拒绝诱惑，看清事实，但是女仆为什么要勾引来买房的男人？

并且为他口交？

而且她在还不清楚男人是为了要重建房子的时候勾引她，并且和康婶表明过，她认为男人能给她地位或者给予她想要的东西？

觉得剧情显然处理得不够圆润。

至于泰德，我只是觉得他是个彻头彻尾的魔鬼，烧母亲的男友致其毁容，还有杀害无辜的同学，很多人以为他在否认那些过往，不过我却觉得那是因为后来他真的爱上了V，想和V好好在一起，所以他害怕V知道，自己也选择性的遗忘了这些事情。

小阿赋予了剧情一定的悬念和惊悚故事，本来还期待她能擦出更多新剧情，结果过于早就死掉了，并且死后鬼魂也没在屋子里出现（我指的是康婶的屋子）但是被泰德残忍杀害的同学的鬼魂却留在了学校里，并且在万圣节出来找泰德，所以小阿的魂魄是去哪里了？

但是不得不否认，故事的精明安排，在这么错综复杂的故事线里能那么好的理清一切，大结局的安排其实是很光明的，只是为什么在海登杀害本的时候，V和薇薇安不出来救他呢？

前面才花了那么大的力气劝说他逃离房子，后面就不出现了，真是费解。

并且前面花了很大的力气描写了房子的第一任主人，诺拉和丈夫，后面诺拉出现，丈夫几乎就没出现，除了分娩的时候出现了，感觉前面花了很大力气描写他心理的变化和后期导致了他改造已经死掉的儿子的故事，结果他和儿子后期都是一闪而过的节奏，诺拉那么千辛万苦的想得到孩子，最后结局仅仅只是描述她得到后觉得厌烦无法去照顾而放手让薇薇安一家大团聚，这个结尾是在有点弱。

而且没什么每一个几乎入住了鬼屋的人都死光光了，除了房产中介和灵媒没有入住，仅仅只是进去作客而已，就不会被杀死，那么为什么康恩斯坦能够没事？

并且随意的出入房子？

女仆没理由的害怕她是为什么？

难道仅仅只是心里觉得对不起坦恩斯特？

这理由或许有些牵强。

不过剔除这些小bug和小细节，这个故事还是非常高明的，为什么不给5星仅仅是因为1星扣掉了这些bug和小细节，1星被夸张的剧情安排所吓到。

美恐大概是我看过最毁三观的电视剧了，鬼魂强奸女主人，却又和女主人的女儿勾搭在一起，还怀上了2个孩子，还一个是鬼一个是人，也太夸张了，海登的复生和报复，本的挣扎，全都让人瞠目结舌。

从头到尾都是sex，虽然说sex也是正常人需要的事情，但是这部剧除了恐怖和故事外，最多的就是sex了，不因为sex，本也不会出轨，薇薇安也不会搬家，也不会被泰德强奸，更不会怀上孩子。

结尾的安排确实是高明的，鬼孩子的出生，并且引出后期杀戮保姆，侧面也说明了康恩斯坦的悲剧，自己生的孩子不是畸形就是心理变态，最后接受泰德的孩子，孩子也跟泰德一样是魔鬼（不过泰德最后也从善了，得到了他自己该有的惩罚，永远都无法和V在一起）结局埋下了许多的伏笔，结果乃至第4季都没有要继续这个故事的任何表明，虽然我也觉得接下来的故事要编很难，但是我相信毁三观的编剧也没什么编不出来的。