當(dāng)Victor在首集直接戳破Simon經(jīng)歷中所粉飾的出柜難題,該劇便擺出要摒棄童話敘事直面現(xiàn)實(shí)困境的姿態(tài),于是我們能看到家庭破碎、融入新環(huán)境、宗教認(rèn)同,就這點(diǎn)而言,第八集無(wú)疑是高光時(shí)刻,只身前往紐約的Victor對(duì)gay文化一次deep dive,Justin說(shuō)出“that was putting on a character, this is just me being me”便是對(duì)此最好的批注。但盡管如此,接地氣的真實(shí)也只能成為本劇唯一亮點(diǎn),人物設(shè)計(jì)和主線的劇情安排的僵硬和突兀,仿佛某種機(jī)器生產(chǎn)流水線上的產(chǎn)品,感受不帶任何創(chuàng)造力和想象力,對(duì)現(xiàn)實(shí)的過(guò)分執(zhí)著反而讓該劇失去了對(duì)現(xiàn)實(shí)的關(guān)注,物極自然必反。