屋事生非第一季

破烂熊只翻译了前几集 我就只看了前几集
上学期的某一天实在忍不了还是想看 就找了外挂字幕 下下来看
终于把第一季看完了 太好看了太好看了太好看了了了了了了了了了

这开始没剧看了才想起来 我第二季还没看呢
Simon Pegg 和Nick Frost的完美组合 无可替代
Simon Pegg太有才了 不过一部如何众叛亲离证明了好莱坞不适合他
还是回来大不列颠吧 折腾折腾小众喜剧才是正经事

剧里他的一头金黄色的毛毛像烫染糟糕了似的 但相当有效果
Nick Frost和电影僵尸肖恩 热血警探一样 依旧扮演傻子 不过Simon Pegg也精不到哪去 这里面的Daisy和Extras里的Maggie一样 都是傻大姐 而且都是混日子的傻大姐 其他的一些角色 像房东太太 邻居怪异男子 人物都相当的出彩

这是一部相当不能被替代的喜剧

主演兼编剧西蒙：“作为一个观众，我如果被影视作品派了点儿活干，要自行建立事物联系，或者补充背景知识来理解剧情，总是会感到更满足。这就是后现代主义的乐趣所在。《屋事生非》中有巨量的引用，这就交给观众们一个任务：把点连成线。当你发现了一个梗，你就算还不知道它的来历，也会有种满足感。当然了，我们也没有把赌注全押在这些时刻上。如果你心领神会了，敬请享受；如果没对上眼，只把它们作为剧情一部分也没问题。”

原文链接：//www.vice.com/en/article/kwk3ga/oral-history-of-spaced-simon-pegg-nick-frost-edgar-wright-jessica-hynes-katy-carmichael

真实，温馨，可爱，原本试图翻译全文，但真的挺长的(。-ω-)zzz

Spacedwas initially pitched as a cross betweenThe Simpsons,The X-Files,and a mid-90s American comedy-drama calledNorthern Exposure. It didn't turn out like that at all, obviously, but that's OK, because what emerged instead turned out to be completely unique and has gone on to become a British cult classic.

It was a show about a group of erratically employed young people living in north London, when that was a thing erratically employed young people could still afford to do. Originally broadcast in 1999 and running for two seasons, it was a mix of stark realism—capturing the characters' job struggles, casual drug use, clubbing, pubbing, and PlayStation sessions—and post-modern surrealism, crammed with references and homages to icons of 80s and 90s pop culture.

Fifteen years since series two was last on air, the cast recall where it all began.

BEGINNINGS

Simon Pegg (Tim):Jess and I were singled out by a producer for a show we had worked on calledAsylum. They said to us, "If you can think of a format we'd like to make a vehicle for you." Jess and I were a bit wet behind the ears, so we boldly said, "Oh yeah, we'll do it, but you've got to let us write it"—like we had any leverage at all. But they fell for it.

Katy Carmichael (Twist):I went to uni with Simon. Jess was a mate at the time, and my stand-up comedy partner. In meeting Simon it was as if she'd found her long-lost comedy other half. They have the same comedy DNA. They both just got each other, and so the writing partnership forSpacedwas born.

Jessica Hynes (Daisy):I was living in my boyfriend's squat at the time. Simon had a degree from Bristol University and could spell; I had an electric typewriter and some fucking Tipp-Ex. I've still got the very first thing that was ever put to paper forSpaced, which was a Marsha monologue—that was the very beginning.

Simon Pegg:I was round at Jess's house writing, and Edgar [Wright] came around after he'd read a draft of the first episode. He had this book of storyboards, and we looked them and thought,Holy shit. He was speaking the visual language of what we were saying with text. It felt like such an incredible fit.

Edgar Wright (Director):What spoke to me about the scripts was how spot on it was about being 20-something in London and the huge gulf between the ambition of what you want to do and the reality of doing it and the procrastination and the laziness and the idea of having big ideas, but not having the drive to make them happen. That all felt very real.

ART IMITATING LIFE

Jessica Hynes:My life up until the point of when I started writing it, at 24, that wasSpaced: living in squats, taking drugs, trying to find work, being out of work, trying to convince a landlady to give you a tenancy.

Katy Carmichael:We were Generation X: the slackers, the disaffected, directionless, free, and human. We were all in it together, andSpacedcaptures that time perfectly. There was something highly creative about all that lounging around and finding moments to connect and have crazy adventures.

Simon Pegg:When I was a jobbing stand-up earning £50 a gig, I was pretty much like Tim, hanging around in the daytime playing video games and smoking weed. That was my life.Spacedcame from our own flat-share experiences, but also in the wake ofFriendsin the mid 90s there had been a few copycat shows in Britain that were supposedly about young lives, and we just didn't feel represented in those shows at all—they were all fairly attractive people hanging around in brightly lit wine bars, talking about shagging. We felt a bit affronted by that and wanted to write a sitcom that spoke to us on a much more intimate level than anything we'd seen before. For a while, Nick, Michael Smiley [who played Tyres], and I all lived together in Kentish Town. Nick just lived in the spare room, which we called the "crab pit."

Nick Frost (Mike Watt):The crab pit was a promotion, too. I didn't have a room for a while, but then I was allowed to sleep in this freezing room full of stinking bags of shit that nobody wanted. There wasn't even a bed, just cushions wrapped in an old piss-soaked duvet, and then me on top of that, and then another piss-soaked duvet on top of me. I think what shames me now is that I brought girls back to that room. Those poor women. We had a great crew, and we hung out loads together, listened to music, went clubbing, watchedThe Simpsons,and smoked a ton of pot.

Edgar Wright:It was slightly less drugs and clubbing for me! I don't know if, at that point, I'd ever even smoked weed. I was living in an apartment in Islington that was very similar, and definitely remember wasting too much time on the PlayStation. I was more of a getting-drunk-in-Camden-and-going-to-the-movies sort of person.

CHARACTERS

Nick Frost:Mike was an amalgam of two guys I worked with in a Mexican restaurant. One was a cook who was a giant, but also a big baby; he'd get pissed, and, at 4 AM, he'd call his mom and she'd come out and get him to take him home. He sadly also had a penchant for Nazi memorabilia and hard punk music. He wasn't a Nazi—he was a nice guy—but he just owned things like a fucking Hitler Youth dagger. The other guy would bullshit us about his time in the Territorial Army and all the weird shit he would do to people, and I never believed him for a second. About two years ago, I picked up a newspaper, and there's a picture of David Cameron in Helmand Province, and standing behind him is this guy, stood there with a M4 carbine and body armor on—so it turns out it wasn't bullshit at all; it was all true.

Julia Deakin (Marsha):They said Marsha had had a bit of a checkered past, and I was exactly the right age to be a bit of an aging hippy, so had a lot to draw on from that side of things. I chose this weird voice based on my friend Danny, a bloke. There was no blueprint for Marsha—she didn't have to have to be that drunk, she didn't have to have that weird voice, she didn't have to look like she did; it was just something I wanted to run with.

Katy Carmichael:Twist is loosely based on a girl at college who was obsessed with fashion and would surreptitiously label check your clothes to see what you were wearing, compare thigh sizes, and make helpful comments about how you could improve how you looked. She was forever disappointed in the other students' sartorial efforts.

Jessica Hynes:Tyres was based on a guy I met in Bath when I was about 16 or 17. He was proud of being the first ecstasy casualty. He said something about the cartilage drying up in the base of his spine, and he used to do this thing where he would talk on a loop: He would tell the same story over and over again, and it would last about three hours. He was extraordinary, and Michael Smiley effortlessly channelled him.

Simon Pegg:Smiley is a brilliant actor, but we were all comics together back in those days, and he had this really bizarre dynamic to him—he was a cycle courier and a raver, so we thought he should just be that on screen for Tyres. He wasn't allowed to do it in the end, but the character of Brian was actually originally written for Julian Barrett and based on his character Victor Munro fromAsylum.

Jessica Hynes:When writing Daisy and Tim, part of my subversive motive was to try and create two protagonists who were on an even keel, who were different genders but not in any way lesser or more interesting or more dynamic or more funny than one another.

THE PRODUCTION

Edgar Wright:People had no expectations for it because they didn't know who we were. I think as soon as we started editing it together, I was very excited about it. It felt really different; it felt out there. I think it was such a small budget show that nobody ever really passed too much comment from the network. All I remember is getting notes about language—that we could only say "fuck" twice and we could not say the word "cunt," and that was it. In a weird way, I prefer the restriction because it makes your "fucks" count if you only have two of them.

Simon Pegg:In the episode where we watch the three Star Wars films, we could use the ewok celebration music from the end ofReturn of the Jedi, but we weren't allowed to use the original, so we had to re-record it ourselves and sing it. So if you watch that episode and listen to that music, that's me, Jess, and Edgar doing ewok singing.

Jessica Hynes:I helped work on the costumes and making stuff, and the set design—I remember saying to them, "No, Daisy has to have WD-40 on her dressing table," and, "Tim's room can't be neat, and it's got to look quite shit."

Simon Pegg:It felt like we were making what we wanted to make, and it was a very happy set as a result—especially the first season. We weren't being interfered with; we were making the show we wanted to make, and it made us laugh a lot. It felt like we were getting it right. We were of the mindset that we wanted the show to make one person's head explode rather than lots of people go, "Oh that's quite good." We just wanted the one person to be like, "Holy fuck, this is the best thing I've ever seen, and it speaks to me on such a personal level." That was more important to us—to be niche and precise, rather than bland and mainstream. I remember filming the scene when I shot the zombie's head off with a shotgun and saying, "This is going to be on afterFriends."

DRUG USE

Simon Pegg:Whenever you used to see drug use on TV, there had to be some sort of punitive measure taken, even if it was just weed. We all used to come back alive when we went out clubbing, and we'd talk very fondly about those nights for months afterward. We didn't make a big deal about them smoking weed in the show; we just wanted to make it a regular part of their day. It was part of our daily life at that time, too. The clubbing episode, we never showed anyone popping a pill, it was just taken as read that they were all e-ing off their tits and having a wonderful time and they all came home alive and lived to tell the tale because the vast majority of people who would go out clubbing and take drugs at that time didn't die. One or two people did, and it was tragic—and the media rode that into the ground—but there was also this other side of things, which is that drugs can actually be quite fun.

Katy Carmichael:The clubbing scene just replicated what we were all doing on a Saturday night back then, except there were cameras there, hence its authenticity. I wore that very same fairy outfit to many a nightclub and went around granting people wishes with that wand.

THE POLICE

Nick Frost:In one episode, there was a flashback of Mike stripping an MP5 [submachine gun] blind-folded, so the prop department thought it would be a good idea if they gave me one to take home and practice with. I did the first scene of the day and then went home at about 11 AM. It was a really hot summer in Highgate. I opened the back doors and put on a tiny pair of house shorts and smoked a bong for like two hours and sat around watching telly, and then started playing with the gun and walking around with it, storming Simon's room with it and using rolled up socks as flash grenades. I then started having a go stripping it blindfolded and got pretty good at it. After about the fifth time of doing it, I sensed there was a person in the room, and as I looked to the back door, there were six armed police officers pointing their guns at me. I was actually very calm—which I thank the marijuana for—and I put my hands in the air and sat back in the sofa away from the gun. As soon as they saw me and my bloodshot eyes, they just started screaming and stormed the apartment. It was terrifying. My favorite bit of that story is that it took them about 45 minutes to work out my story was true, and then the mood became quite jovial when they realized they were just dealing with a fucking idiot. As they left the main officer tapped me on the shoulder and said, "Well done, mate—a lot of people piss themselves."

REFERENCES

Julia Deakin:I'm not a great film buff. A lot of the script, which was obviously references, didn't mean too much to me. Even when I was filming, I would be asking, "Why am I saying this?" I didn't know what the fuck the twins in the cupboard [a reference toThe Shining] were doing, and I still don't. But I trusted them—the writing was so good.

Simon Pegg:I'm always much more satisfied as a viewer if I'm given some work to do and have to draw connections myself, or require some background knowledge to understand something. That's the joy of post-modernism. BecauseSpacedwas heavily referential, it created a mission for the viewer to connect the dots, and you feel a sense of satisfaction when you get a reference when you haven't been told what that is. We never tried to rest everything on those moments, though; you could enjoy them if you got them, but if you didn't, they could just be enjoyed as a part of the fabric of the show.

Jessica Hynes:We are total film nerds, but we cover very different areas. Simon is Mr. Star Wars. I mean, I wouldn't even go there. You could ask him what the third fucking ewok from the left was called in some scene, and he'd know—he'd know the name of their mother. Our areas of film do crossover, though, especially the big classic stuff like Spielberg and the great 80s films. It became a nerd-off, basically. Although I have to say there was a time when I wanted to do thisGooniesreference, and he was like, "Hmmmm…" Big mistake, Simon Pegg. Big mistake.

THE FUTURE OF SPACED

Julia Deakin:I'd do it all again tomorrow if they decided to bring it back. I've been acting 40 years, andSpacedis easily in the top three jobs I've ever done.

Nick Frost:I think, for me, it's done. I just don't know how you'd do it; we're all so fucking old and decrepit now. Maybe I could get out of it by saying Mike made it to Afghanistan, but he stepped on a mine out there or that he fell out the back of a plane.

Jessica Hynes:My door is always open. I mean, fucking hell, Jesus, who I am to say no? I don't want to make it awkward for them as they have really big careers, and I'm noodling about doing my own thing, but I know Simon and I's paths will cross again—our bond is deep.

Simon Pegg:We always wanted to do three series; we just sort of missed the boat on it. We would have liked to have done three and everyone's character have a third part to their arc, and certainly have Tim and Daisy get together in the end and it lead up to this wonderfully exciting and satisfying romantic conclusion, and for everyone in the show to have their moment—but it just didn't happen. It's a source of frustration for me, looking back, but it's something I'm incredibly proud of, and it makes me very happy to think we managed to pull off the three Cornetto movies [Shaun of the Dead,Hot Fuzz,The World's End], because I finally felt like I had finished something that I set out to do. The key factor is that we just don't live that life anymore. The truth ofSpacedwas that it came from a very real place and from our hearts and where we were in life. I don't think anybody would be remotely interested in a sitcom about a relatively successful film actor living in rural Hertfordshire.

Edgar Wright:I don't know. I think, for me, it would be a no. I think withSpacedit would be a bit of a lose-lose; I don't know if people would ever be entirely happy. Maybe if Simon and Jessica came up with a really brilliant script, but I just feel because we're all different people now it would be hard. Would you want to see those characters older, or is the beauty of the show in that the last time we ever saw Tim and Daisy was sitting on that beanbag in front of the TV with Colin, and to leave them there in this beautiful time capsule of that era? I would tend to say don't risk it. It's a beautiful 14 episodes, and maybe we could have done more at the time, but I'm very proud of what we did, and I don't really want to spoil it now.

Katy Carmichael:Maybe more time needs to pass before we get together again. Another 40 years, then an octogenarianSpacedChristmas special. I'd watch that. Twist with a Swarovski zimmer frame and a Prada colostomy bag, still hobbling around in platform heels but with varicose veins. Tim as a silver fox, perhaps. Daisy as a successful writer—her very own version of Barbara Cartland. Brian starts his own political party. Marsha still a landlady, but moved on from the vino to the gin. And Mike, a pipe and slippers pacifist in a nursing home.

S1E7末尾，Tim和前女友Sarah约着见面，在Sarah来之前，Tim在座位上写诗：

I've held you in my arms a thousand times Closed my eyes and known we would always be together I smiled at you through all your many lies unknowing and unthinking that eternity would be never As distance dulls the memory and bitter history grows hazy I realize my one true love is in fact a girl called...

最后一个词还没写完就被Sarah的到来打断了。按照这里隔行押韵，应该是交叉韵abab：times/together/lies/never/hazy/…，所以末尾填上的词应该是Sarah；但是，也可以只看末尾两句的押韵，即应填上Daisy。

最终的答案是什么呢？Tim拒绝了Sarah复合的请求，在吧里和Daisy随着音乐起舞——As distance dulls the memory and bitter history grows hazy/I realize my one true love is in fact a girl called Daisy.

第一季最后一集Tim念了一大段独白，不得不想到“醍醐灌顶”或者“佛陀顿悟”或者“洞穴与光明”……之类的，伦敦的落魄青年在经过生化危机古墓丽影酒吧舞曲之后作出了“菩提本无树”的深刻认识。

“我突然心中一片清明，你知道的，我觉醒了。
“就像……你知道的，自己得到高潮一样。
“就像当你躺在沙发上，看着在昏昏沉沉，寂寞难耐的夜晚从苏活区买回来的色情录像带。
“你躺着，觉得什么都很棒，你被这些可笑的影像弄得欲火焚身，一切好像都很好。突然……砰！你就醒过来了，你躺在那里，浑身冒冷汗，慌乱地找仍然在你自己口袋的纸巾，而遥控器不知在地板上的哪里，这像是自己撞见自己在做这码事，你知道的，就像‘你在做什么？’
“那就是今晚我的感受，每当有人进来，我觉得我的心跳就要停止了，‘你在他妈的搞什么？’”
……
“人生其实不像电影，你知道吗？我们老是被教导着去期待事情能被解决，和能重建完美而永恒的现状，现实却不是这样。所谓的‘快乐结局’只是个神话，目的是要让我们在面对人生困境时觉得好过些。”
……

就冲着这独白，伦敦破烂公寓里的有为青年就到达了耶稣基督释迦牟尼柏拉图的境界。
在第一季结束的时候需要这样的顿悟。我们在一个人一段感情一个执着一段人生一辈子的最后往往也得到同样的顿悟。
于是，我们也能得道成仙驾鹤前往西方极乐世界而玩儿去了。

虾米精选集： http://www.xiami.com/song/showcollect/id/22562592
第二季： http://movie.douban.com/review/6156630/

听到熟悉的歌想不起来名字是世界上最痛苦的事情之一。Spaced出过一张官方OST，但是里面很多插曲没有收录。见到有不少朋友求屋事生非里每一集的歌，就索性将所有歌曲列表贴过来了：

Soundtracks：

【Season 1】（1999）

【ep01: Beginnings】

"The Weekend Starts Here"
Performed by Fatboy Slim

"Gritty Shaker"
Performed by David Holmes

"Delta Bottle Neck Stomp (Chemical Brothers Remix)"
Performed by Mercury Rev

"Space Food"
Performed by Tai Fun

"Getting To Know You"
Sung by by Marni Nixon

------------------------------------------

【ep02: Gatherings】

"There Must Be an Angel"
Performed by Fantastic Plastic Machine

"The Beat Goes On"
Performed by All Seeing I

"Blue Mood"
Performed by Gert Wilden & Orchestra

"Bobby Dazzler"
Performed by The Sons of Silence

"King of Rock and Roll"
Performed by Prefab Sprout

"The Power of Love"
Performed by Huey Lewis & The News (as Huey Lewis and The News)

"The Magnificent Seven"
Composed by Elmer Bernstein

"Centerfold"
Performed by J. Geils Band

"The Time Warp"
Composed by Richard O'Brien
Performed by Richard O'Brien, Nell Campbell (as Little Nell), Patricia Quinn and Charles Gray

"American Pie"
Performed by Don McLean

"True"
Performed by Spandau Ballet

------------------------------------------

【ep03: Art】

"Theme of Luxury"
Performed by Fantastic Plastic Machine

"Smash It"
Performed by Fuzz Townshend

"Homespun Rerun (Cornelius Remix)"
Performed by High Llamas

"Sandow Office"
Performed by Jerry van Rooyen

"Rodney Yates"
Performed by David Holmes

"Let Me Hear the Music"
Composed by Guy Pratt

------------------------------------------

【ep04: Battles】

"Adagio for Strings"
Written by Samuel Barber

"Homespun Rerun (Space Raid Remix)"
Performed by High Llamas

"Theme from 'Animal Magic'"
Composed by Laurie Johnson

"Theme from 'Roobarb and Custard'"
Composed by John Hawksworth

"Battle of the Planets"
Performed by Fader Gladiator

------------------------------------------

【ep05: Chaos】

"Little Girls"
Performed by Gert Wilden & Orchestra

"Battle of the Planets"
Performed by Fader Gladiator

"Absurd"
Performed by Fluke

"More Beats & Pieces"
Performed by Coldcut

------------------------------------------

【ep06: Epiphanies】

"Because We Want To"
Performed by Billie Piper

"Come on Eileen"
Performed by Dexys Midnight Runners

"Morse"
Performed by Nightmares on Wax

"Tyres Phone Music"
Composed by Guy Pratt

"Iena Sequence"
Performed by Roberto Pregadio

"Backroll (Herbal Mix)"
Performed by Outcast

"Let Me Show You (Tall Paul Remix)"
Performed by Camisra

"A-Team Dance Remix"
Composed by Guy Pratt

------------------------------------------

【ep07: Ends】

"Test Card"
Performed by Fuzz Townsend

"Piacere Sequence"
Performed by Teo Usuelli

"Chicago"
Performed by Groove Armada

"S'il Vous Plait"
Performed by Fantastic Plastic Machine

"Mini-Management"
Performed by High Llamas

"Is You Is or Is You Ain't My Baby?"
Composed by Bill Austin and Louis Jordan
Performed by The JB Jazz and Blues Band

看过《僵尸肖恩》的朋友或许对这部剧略有耳闻，毕竟两者创作班底基本一致。

导演Edgar Wright和编剧Simon Pegg也正是依靠《屋事生非》的成功才得以进军大荧幕，拍出了轰动全球的《僵尸肖恩》，甚至还因此获得了在罗梅罗大师丧尸系列完结篇LAND OF THE DEAD中客串僵尸的荣幸。

看过《僵尸肖恩》再来看这部，多多少少会找到熟悉的感觉，如出一辙的视觉效果、搞笑手法和几乎相同的演员班底，前者简直就是后者的电影版。

故事开始于一家咖啡厅。

古怪失恋漫画家提姆小金毛和慵懒无业作家戴茜偶遇。

都在寻找合适房子的他们一拍即合，假冒成夫妻租到了一套非常划算的公寓。

这幢公寓从搬进来就充满着诡异气息。

比如橱柜中突然冒出的双胞胎姐妹；

楼上时而传出的激烈争吵声；

古怪又怀春的老房东；

奇葩的行为艺术画家……

再加上蒂姆与戴茜各自的好友，以及无时无刻不在为“作战准备”的军事狂等。

这样一帮人凑到提姆与戴茜身边自然闹出不少笑话。

例如从他们搬进屋子的第一天，老房东与画家便不请自来，一个抽烟叹气，絮叨自己女儿多叛逆，另一个畏畏缩缩四处偷瞄。

关键这俩人之间似乎还有情况，房东时不时地就会抛个媚眼……

蒂姆深感怀才不遇，便转头沉迷游戏。

生化危机玩上瘾了，看谁都像僵尸，一拳揍趴了嘲讽画家的男子。

画家一边感慨人生，为蒂姆的仗义感动，蒂姆一边晕晕乎乎拽着大家躲“僵尸”。

戴茜自诩是作家，却永远在打字机前坐不够两分钟，不承认自己逃避工作的她将原因归咎于环境的改变，所以决定办个派对，

结果唯一的好友小歪一来就安慰她：

“戴茜，不要觉得自己像个又胖又丑的废物！”

蒂姆与军事狂的友谊从少年时代就开始了，由于蒂姆的失误，不小心让军事狂摔伤了眼，导致没办法成为正规陆军，这件事一直是蒂姆心里一根刺。

于是乎，在两人相约打真人CS的时候，他们现场来了个真情告白……

军事狂替蒂姆挡“弹”，倒下的一瞬间，蒂姆跪地大哭，嘴里不住喊着“不要，不要！”

剧集中有很多梗，都超级好玩。

就像不少剧迷留言赞同的一样....

虽然剧中很多搞笑无厘头的事情，但也不乏温情。

戴茜遭遇面试屡屡被拒，还被真男友甩，伤心欲绝的她决定养一只小狗陪伴，

一向怕狗的蒂姆虽然嘴上说着讨厌狗，希望它消失，可在狗狗真的跑丢后也是第一个主动站出来焦急寻找的。

蒂姆无法走出失恋的影子，在前女友再度约他时，戴茜怕他受伤，哪怕被蒂姆冷言冷语对待也要劝阻他回头，

而蒂姆在见到女友的一瞬突然心中一片清明，明白究竟对他好的那一个是谁，果断选择放下前女友。

蒂姆会在朋友面前维护戴茜，戴茜也会暗搓搓吃蒂姆前女友的醋，两人在相处磨合中也渐渐产生了不一样的感情。

《屋事生非》每一集乍看上去都荒诞冷幽默，但实际上都在暗讽现实。

生活并没有那么多美好，快乐结局也都是神话，不过好在还有身边那一帮值得珍惜的人，在逆境中寻得一丝慰藉，找到一些快乐。

除此之外，这部剧最吸引人的地方还是它独特的视觉风格和对流行文化的频繁引用。

初看剧集时肯定会觉得相当新鲜，因为那些频繁快速的镜头剪切和不断加入的闪回、插叙在传统情景喜剧中都是极为罕见的。

剧中每一位都有鲜明的性格特点，这些异趣味十足的特色使得《屋事生非》本身也成了英国情景剧经典之作，感兴趣的朋友可以去看看。

点赞是个好习惯哦！

终于看完了spaced




实在是精彩之极的另类SITCOM，可惜咱们这儿知道的人实在太少，我来简单做个介绍吧 。
“SPACED"是99年到01年间在英国4频道播出的情景喜剧，总共两季，每季七集。剧集的幕 后核心是导演Edgar Wright和编剧兼主演的Simon Pegg、Jessica Stevenson。第一集里咖啡 店偶遇的古怪失恋漫画家Tim和慵懒无业作家Daisy假冒成夫妻租到了一套公寓，故事就围绕 着他俩的生活和微妙发展的关系展开起来。
SPACED最吸引人的地方是它独特的视觉风格和对流行文化的频繁引用。初看剧集时肯定 会觉得相当新鲜，因为那些频繁快速的镜头剪切和不断加入的闪回、插叙在传统情景喜剧中 都是极为罕见的；同样新鲜的是随处可见的模仿致敬段落，尤其是对CULT电影、漫画、游戏 的致敬，DVD里甚至为此还专设了一条homage字幕。SPACED里的人物也是个个特色鲜明且神经 质抵死，尤其是四位配角－古怪又怀春的老房东Marsha，诡异的行为艺术画家房客Brian， Tim的军事狂人好友Mike，还有Daisy的做作时尚好友Twist。这些异趣味十足的特色使得 SPACED本身也成了CULT经典，在英国本土拥有了大量忠实粉丝。
籍着SPACED的成功，Edgar Wright和Simon Pegg这对搭档得以进军大银幕，拍出了去年 轰动全球的“僵尸肖恩”，甚至还因此获得了在罗梅罗大师丧尸系列完结篇LAND OF THE DEAD中客串僵尸的荣幸。看过SPACED再来看“僵尸肖恩”肯定只有一个感觉：如出一辙的视 觉效果、搞笑手法和几乎相同的演员班底，后者简直就是前者的电影版。事实上SPACED也一 直有要拍电影版的传言放出，但Simon Pegg明确表示它根本就不适合搬上大银幕，不过至少 有一个好消息是确凿无疑的，SPACED还要拍第三季，而且很可能还会有些特殊剧集，只是究 竟何时开拍目前还是未知数。

文/高尔吉亚(原文刊登于28期《开啦》杂志）

中文名称：屋事生非
英文名称：Spaced
剧集类型：喜剧/恐怖/科幻/剧情
每集长度：20分钟
首播时间：1999年
首播频道：英国第四频道
播出地区：英国
剧集语言：英语
导演: Edgar Wright
编剧: Simon Pegg / Jessica Stevenson
主演: Simon Pegg / Jessica Stevenson / Julia Deakin
官方网站: http://www.spaced-out.org.uk/

——被誉为有史以来最棒的英国情景喜剧，赢得了两座英国喜剧奖的奖杯，两次英国学院奖提名。
——IMDB上得分9.5。
——叫好又叫座并且颠覆传统僵尸片的《僵尸肖恩》原型出处。
——著名美国鬼才导演昆汀·塔伦蒂诺（Quentin Tarantino）强烈推荐：“The one，the only… SPACED。Accept no substitutes”。
——美国著名电视台FOX准备翻拍本剧。
——男女主角都不是帅哥美女。
——B级片爱好者和宅男腐女子们的心头好。

《屋事生非》（Spaced）于1999年到2001年期间，在英国第四频道正式播放（新剧《皮囊》也在此频道播放），目前总共播出了两季。本作中到处都是对美国流行文化和时尚潮流的恶搞，对Cult片、漫画、游戏、音乐的致敬，截然不同于美式搞笑的英式幽默，并运用了MTV式的酷炫剪辑手法和拍摄手法，以人物行动推动剧情发展，而不只是象过去那样站在屋子里翻翻嘴皮子，男女主角都不是美型演员，背景设定上不再属于有钱阶级，不仅如此就连住处找不到，这一切都打破了传统套路，带动出一波全新的情景喜剧潮流。《屋事生非》在英国播出之后一鸣惊人，获得了观众和业界的一直好评，也为日后导演Edgar Wright和编剧兼主演Simon Pegg搭档拍摄正式长片奠定了基础。

在正式介绍本剧之前，不得不先重点提一下Edgar Wright和Simon Pegg这对活宝。两人相识于1996年播出的电视剧《精神病院/收容所》（Asylum）中，同时结识的还有Jessica Stevenson，此君也参与了Edgar Wright之后的几部作品。三年之后，两人再次合作，再加上Simon日后老搭档也是生活中的好友Nick Frost和饰演Daisy一角的Jessica Hynes等几个人，一起组成了《屋事生非》的主要制作班底。

《屋事生非》取得的成功使两人获得了第一笔投资，改编自《屋事生非》第一季第三集的的《僵尸肖恩》（Shaun of the Dead）是Edgar Wright，Simon Pegg和Nick Frost三人正式进军大屏幕的处子之作。该片于2004年正式上映，打破了传统僵尸片刻意营造恐怖氛围的陈旧套路，代之以独特的英式幽默和主角生活化的自然形象，给人耳目一新的感觉，并使他们在国际电影界中一举成名。

有趣的是，因为《僵尸肖恩》的影响力，两人还被僵尸电影之父George A. Romero邀请到《活死人地带》（Land Of The Dead）中客串了两个僵尸角色。同样被Simon Pegg的个人魅力所征服的还有法国大导演Jean-Baptiste Andrea，他在看完《僵尸肖恩》之后灵感突发，邀请到美剧《六人行》中人气男星David Schwimmer和Simon Pegg来搭档演对手戏，最终促成了美式搞笑和英式幽默大碰撞的《微不足道》（Big Nothing）在2006年上映。更有意思的是，因为《微不足道》的极大成功，使得David Schwimmer终于也按奈不住想过把导演的瘾，于是再次邀来Simon Pegg参与编剧和主演，甚至不惜将原作背景设定从纽约改到了伦敦，以求得原汁原味的英式喜剧，从而造就了2007年上映的《胖男孩快跑》（Run Fatboy Run）。

但Edgar Wright和Simon Pegg对此还没有满足，三年之后再次联手带来了全新的警匪喜剧片《热血警探》（Hot Fuzz），这次他们尝试将喜剧元素融入了传统警匪动作类型片中，这当然要归功于从小就痴迷于警匪片的忠实粉丝Edgar Wright，影片如预期般再次获得了巨大的成功。此外，《屋事生非》一直有传言会拍第三季，还有以两个宅男（自然还是Simon Pegg和Nick Frost主演）参加动漫年会为主要剧情的《Paul》（拍摄时间未定）以及定于2010年播放的《世界的尽头》（The World's End）也在策划拍摄的档期中，可以预见，这对黄金搭档还将带给我们更多的惊喜。

现在让我们再次回到《屋事生非》，在本剧中Simon Pegg照例还是扮演一个一事无成的大龄单身宅男，平时只知道整天窝在沙发里打电玩，或者泡在网上和极客们讨论《X档案》里的象征意义（生活中的Simon Pegg就是个标准的《X档案》发烧友和星战迷）。但私底下他其实是个有抱负的漫画家，希望有朝一日可以成为黑暗之星漫画社签约作者(Dark Star Comics取自现实里的漫画社Dark Horse Comics)，虽然至今为止的作品只有为妹妹的男朋友的哥哥的乐队God's Third Leg设计的唱片封套(Simon Pegg现实中的确是God's Third Leg的一员并且担任鼓手一职)。正式工作是在“幻想集市”的漫画店里担任副经理一职，虽然店里包括他在内一共只有两个人。

因为被前女友赶出家门，地下漫画家Tim（Simon Pegg饰）不得不想办法在外租房，由此认识了一心梦想成为专业作家却灵感枯竭的Daisy Steiner(Jessica Hynes饰)。两人商定好之后，决定假扮夫妻租了一个房，没想到房东和房客们也全是些稀奇古怪的家伙，包括整日不见踪影长期蜗居在地下室的失意画家Brian Topp（Mark Heap饰），后期加入租房的还有平日里总幻想着操起一把机枪狂扫一气的军事发烧友也是Tim的好友Mike Watt（Nick Frost饰），在时尚界工作喜欢新奇事物的Daisy的好友Twist Morgan（Katy Carmichael饰），当然还有一位嗜酒如命的好色女房东Marsha Klein（Julia Deakin饰），这些古怪的家伙们共同演绎了一场精彩绝伦的屋事生非。

全新的剪辑手法，镜头运用和精心策划的配乐是本剧一大特色，以在第一集的一开始为例：以Fatboy Slim的缓拍作品“The Weekend Starts Here"开场，舒缓浪漫的曲调象征着男女主角的首次邂逅，然后切换为Marni Nixon的“Getting to Know You”（1956年版《国王与我》The King and I插曲），再以镜头的平移将两人甜蜜幸福的过去回忆一幅幅拼凑起来。短短十分钟不到的开场已经让观众迅速入戏。

第一季的第三集是整个剧集的核心，不仅运用了“臆想”这一新颖手法来表现人物的内心世界，还将ACG（漫画动漫游戏）这一独特生动的表现形式穿插在剧情中，另外从这集小标题《艺术》（Art）就可以看出Edgar Wright所想给观众呈现的不仅仅只是那些很眩很酷的形式表面，还有那些情感细腻的敏感个体之间在交流上所存在的内在问题。

在这集中，Brian收到了一份来自昔日好友Vulva（David Williams饰）的派对邀请，面对着镜子总找不到最满意的服饰搭配，此情此景活象是要和老情人见面一般，所以此处绝对是腐女子们最津津乐道的话题，在外人看来，Brian和Vulva的确很象一对同志，但笔者根据自身经历认为两人其实更象是生活中的精神知己和事业上的最佳拍档。怀抱着忐忑不安的兴奋心情，Brian终于在派对上见到了被一群美女簇拥着的Vulva，没料到正式见面时却被Vulva狠狠奚落了一番。同样悲惨遭遇的还有满怀期待之情却最终面试失败的Daisy，于是她借此来派对一醉方休。只有Tim依旧浑然不觉，还借着兴奋剂、酒精、烤玉米片的混合作用达到了一种自我陶醉的致幻境界，不过这家伙把满屋子里的客人都臆想成了游戏《生化危机》里的僵尸，最后Tim在一番奋力拼搏之下终于把两人救了出来。拍完之后，Edgar Wright和Simon Pegg对这集构思都相当满意，于是当即决定将其扩展成一部正式僵尸长片，这就是日后两人赖以成名之作《僵尸肖恩》的雏形。

臆想和角色换位是心思敏感的个体类型心理活动表现，也是一种自我保护。起初在旁观者比如观众眼里看来喜剧味十足，但随着真实情况的展露，观众将随着主角一起慢慢走近内心世界，品尝到个中滋味。提到这点，其实华语喜剧明星周星驰是最擅长于此道并将其发挥到了淋漓尽致的境界。这种强烈的喜剧冲突效果在此之前也有反复出现过，包括这集里Brian在见面之前已经假设幻想了一遍对Vulva时说话的语气和对方热烈回应，第四集里Daisy想象成是自己向男友提出分手而不是对方提出，两人都想在气势上压倒对方，但实际上只是自欺欺人罢了。

ACG是贯穿本剧的另外一大特色。除了先前提到的《生化危机》游戏，本剧还引用了一些大家耳熟能详的其它经典游戏，包括用格斗游戏《街头霸王》中的对战来象征Tim和Daisy之间的争论不休，用射击游戏来象征黑暗之星漫画社老板对漫画作者的一个个“枪毙”。当然，漫画形式也必不可少：用逐格漫画来表现Daisy学生时代的一场友谊篮球赛，用数页素描来表达Tim向Daisy提出另外一种夜生活方案，等等。

本剧中出现的所有配乐，漫画家名字，漫画社名称，乐队名称，甚至就连成列在剧中漫画店货架上的漫画书（虽然只有几秒的镜头）都是有典故的，甚至有的名称直接从现实中原封不动的拿来。其讲究细节的程度不亚于同样喜欢引经据典的热门美剧《迷失》和去年好评如潮的《再见绝望先生》与《幸运星》两部动画。但对于从来没在英国生活过的国内观众来说，要领会那么多伏笔和细节出处实在是一件很困难的事情，不过对哈英族来说这却激发了他们的考据狂人本性。为此本剧DVD里还专设了一条向所有奋斗着的文艺工作者们致敬的英文字幕，将剧情中出现过的电影、漫画、音乐、游戏等一网打尽，详细的罗列出相关出处和解释。

本剧还有一大特色就是恶搞不断，英式幽默随处可见，冷笑话满天飞。恶搞对象从热门电影《星球大战》到《黑客帝国》都有涉及，甚至就连被广大文艺青年顶礼膜拜的著名Cult片导演大卫芬奇（David Fincher）代表作《搏击俱乐部》（Fight Club）都不能幸免，因为他们秉承的正是以下这个信条：“越喜欢的越要恶搞”。

本剧在刻画人物方面也相当成功。拿Tim和Mike来说，虽然是个看似两个长不大的孩子但在紧要关头总能挺身而出，奇招尽出，从而展现出很Man的一面，比如开着设计的机器人去机场说服Daisy留下来，率领大家开着坦克拉这横幅大声放着音乐去挽回房东Marsha Klein的心。Tim平日里看似浑浑噩噩，浑身懒散模样，但在一些关键决断上却很果断明智，比如放弃新漫画店工作接受旧主的请求回到原来工作地方。相比之下，我们的画家大叔Brian却显得优柔寡断，不懂得拒绝房东的骚扰，在面对女友Twist Morgan离开后也不知道如何去挽回，总是沉浸在自我世界中不可自拔，忽略了和亲密人之间的交流。

所以脱掉恶搞的表皮，本剧其实骨子里和顾长卫新作《立春》所想表达的是一样的，通过充满戏剧张力的喜剧元素的调动，来展现出当下怀抱着梦想却在现实中处处碰壁这一群体的生活状态，从感情关系上的纠结到艺术创作过程中遇到的瓶颈，以及时时刻刻面临的生存危机到社会压力都作了细致深入的刻画。现实生活远比电视剧更复杂生动，也许通过《屋事生非》中男女主角积极面对生活的态度，可以让我们找回一些失落的勇气和信念。