Baudinette博士：?這是為了揭示杰尼性侵丑聞的同時(shí)，討論對(duì)粉絲厭女式的反感，同時(shí)日本媒體正在嘗試去分清什么應(yīng)該被譴責(zé)，而什么不應(yīng)該被譴責(zé)。（unpacking the?sexual abuse scandal and discussing misogynistic backlash against fans as Japanese media attempt to make sense of who is, and is not, to blame)

B博士的朝日新聞采訪(fǎng)被他自己翻譯成了英文并全文免費(fèi)公開(kāi)了。gpt翻譯+我檢查模式搬運(yùn)，長(zhǎng)難句地獄，不保證完美通順。翻譯我采用中英交替對(duì)照，拿來(lái)做英語(yǔ)學(xué)習(xí)材料也不錯(cuò)。

原文（英）https://thomasbaudinette.com/2023/09/20/johnnys-problem/

之前我發(fā)過(guò)的一些和B博士相關(guān)的內(nèi)容：

這是采訪(fǎng)剛出我給的推薦。這是他上的公開(kāi)課解說(shuō)《偶像失格》

眾所周知，日本男性偶像經(jīng)紀(jì)公司杰尼斯近日被爆出，其創(chuàng)始人喜多川杰尼幾十年來(lái)，連環(huán)性侵犯參與公司培養(yǎng)項(xiàng)目的未成年人。這不僅導(dǎo)致杰尼斯受到社會(huì)持續(xù)的反感，“杰尼斯性侵問(wèn)題”也受到媒體強(qiáng)烈關(guān)注，還使公司CEO藤澤朱莉景子（喜多川杰尼的侄女）被迫辭職。

我受朝日新聞的邀請(qǐng)，從日本女性粉絲文化的研究者，和偶像產(chǎn)業(yè)專(zhuān)家的角度，分享對(duì)這一重大的丑聞的看法。如下，我將分享與記者森真弓（下簡(jiǎn)稱(chēng)M）的采訪(fǎng)的英文翻譯版，該采訪(fǎng)于2023年9月14日發(fā)表在朝日新聞數(shù)字版上。此翻譯并不嚴(yán)謹(jǐn)，并對(duì)一些陳述進(jìn)行了改動(dòng)，以貼合我目前的想法。

As many people are no doubt aware, Japanese male idol talent powerhouse has been rocked by the revelation that their founder, Johnny Kitagawa,?had been serially sexually abusing minors in the company’s training program for decades. This has led not only to a sustained backlash against the company and intense media scrutiny of the “Johnnys Sex Abuse Problem,” but also led to the resignation of the company’s CEO Fujisawa Julie Keiko (Johnny Kitagawa’s niece).

I was invited by the Asahi Newspaper to share my thoughts on this broader scandal from my perspective as a scholar of Japanese female fandom culture and expert on the idol industries. Below, I share the translation of my interview with journalist?Mori Mayumi, which was published in the Asahi Newspaper Digital Edition on 14th September, 2023. This translation is somewhat loose, with a few rephrases of some of the statements to better align with my current thinking.

朝日新聞標(biāo)題：杰尼斯事件：粉絲有能力改善追星文化 - 澳大利亞研究員之所見(jiàn)

THE JOHNNYS PROBLEM: FANS CAN IMPROVE STAN CULTURE – THE PERSPECTIVE OF AN AUSTRALIAN RESEARCHER

杰尼斯所屬未成年人大規(guī)模被性侵犯的爆料，給杰尼斯粉絲帶來(lái)巨大沖擊。雖然以前的報(bào)道已經(jīng)揭示了媒體和社會(huì)為何忽視性侵問(wèn)題這一重要問(wèn)題，但也出現(xiàn)了一些批評(píng)偶像文化本身，或?qū)⒇?zé)任推向女性粉絲的言論。追逐男性偶像比如杰尼斯，對(duì)女性意味著什么呢？而社會(huì)對(duì)粉絲文化又如何理解呢？杰尼斯的粉絲們應(yīng)該如何走向未來(lái)呢？我們向熟悉東亞偶像文化的，就職于澳大利亞麥考瑞大學(xué)的，日本與國(guó)際研究高級(jí)講師托馬斯·鮑丁內(nèi)特提問(wèn)。

Johnnys fandom has been shaken by the revelation of the large-scale sexual assault of minors at Johnny and Associates. While reporting has previously shed light on the important issue of why the media and society have overlooked this sexual harassment, some statements that criticize idol culture itself or shift the blame onto female fans have also appeared. What does the culture of celebrating male idols, such as Johnnys, mean to women, and how has the fandom been received by society? And what should Johnnys fans do moving forward? We asked Thomas Baudinette, Senior Lecturer in Japanese and International Studies at Australia’s Macquarie University, who is familiar with East Asian idol culture.

這只是“日本專(zhuān)屬”的問(wèn)題嗎？

IS IT A JAPANESE PROBLEM?

M：您的研究方向是性別研究，但您自己多年來(lái)一直是東亞偶像的粉絲，包括杰尼斯。

T：當(dāng)我在大學(xué)研究日本學(xué)時(shí)，一位朋友向我介紹了偶像團(tuán)體w-inds，從那里我開(kāi)始了解日本偶像。后來(lái)，在觀(guān)看日本電視劇和綜藝節(jié)目時(shí)，我知道了杰尼斯，從而成為了杰尼斯偶像的粉絲。我會(huì)去墨爾本的書(shū)店購(gòu)買(mǎi)日本書(shū)籍，購(gòu)買(mǎi)像《Myojo》和《POTATO》這樣的偶像雜志。至于為什么我被日本偶像吸引，是因?yàn)槲鞣矫餍菍?duì)我來(lái)說(shuō)就像拋光過(guò)的寶石，而日本偶像更像是未經(jīng)雕琢的鉆石，粉絲可以直接體驗(yàn)他們?nèi)绾巫兊霉獠蕣Z目的過(guò)程。正是因?yàn)槿毡九枷裨诿餍俏幕系膭e具一格，我才被吸引。

M: Your research specialty is gender studies, but you yourself have been a fan of East Asian idols, including Johnnys, for many years.

T: When I was studying Japanese Studies at university, a friend introduced me to the idol group w-inds and I learned about Japanese idols. Later, while watching Japanese dramas and variety shows, I learned about Johnnys and that’s when I started to become an fan of Johnnys idols. I would go to bookstores in Melbourne that stocked Japanese books and buy idol magazines like Myojo and POTATO. Thinking about why I was drawn to Japanese idols, it was because Western celebrities appeared to me as akin to polished jewels, while Japanese idols seemed like diamonds in the rough where fans can directly experience the process of where they become polished. I was drawn to Japanese idols because of this difference in celebrity cultures.

M：作為杰尼斯的粉絲，您聽(tīng)說(shuō)過(guò)喜多川涉及性侵的指控嗎？

T：我第一次聽(tīng)說(shuō)這些指控是在收集我博士論文的研究資料的時(shí)候，我的論文是探討日本媒體文化中g(shù)ay的表現(xiàn)形式。當(dāng)時(shí)社交媒體還沒(méi)有普及，所以除了指控本身，我對(duì)具體情況不太了解。我對(duì)現(xiàn)在曝光的性侵的性質(zhì)和受害者人數(shù)感到震驚。

M: As a Johnnys fan, had you heard about the allegations of sexual abuse committed by Johnny Kitagawa?

T: I first learned about the allegations when I was in graduate school researching materials for my doctoral dissertation exploring representations of gay men in Japanese media culture. At that time, SNS were not yet widely developed, so I did not know the details beyond the simply allegations. I was shocked by the nature of the sexual assault that has now come to light and the huge number of victims.

M：您對(duì)于杰尼斯于9月7日舉行的新聞發(fā)布會(huì)有何看法？

T：由于杰尼斯是一家私人家族經(jīng)營(yíng)的公司，我認(rèn)為與性罪犯喜多川有血緣關(guān)系的藤島朱莉·景子的辭職，有重要象征意義。幾十年來(lái)，藤島似乎無(wú)視了針對(duì)公司存在未成年被性侵犯的指控。即使藤島真的不知道喜多川被指控的具體性侵犯行為，對(duì)于這幾十年來(lái)的無(wú)視杰尼斯也有一定的罪責(zé)。

M: What did you think watching the press conference held by the agency on September 7th?

T: As Johnny and Associates is a private, family-run company, I felt it was important symbolically that Fujishima Julie Keiko – who is related to Johnny Kitagawa, the perpetrator of the abuse – resigned. For decades, it appears that Fujishima ignored accusations of sexual assault against minors leveraged at the company. Even if Fujishima truly had no real knowledge of the actual harm allegedly being perpetrated by Kitagawa, they possess a certain amount of culpability for ignoring the allegations over decades.

M：西方媒體是否關(guān)注杰尼斯性侵問(wèn)題？

T：西方媒體對(duì)這一丑聞?dòng)袃煞N主要觀(guān)點(diǎn)。一種觀(guān)點(diǎn)是，對(duì)未成年人的虐待代表了娛樂(lè)行業(yè)的系統(tǒng)性問(wèn)題。近年來(lái)，一些強(qiáng)大且富有的男性，如美國(guó)的哈維·溫斯坦和英國(guó)的吉米·薩維爾，被曝犯下了可怕的性侵犯行為。因此，這一種觀(guān)點(diǎn)認(rèn)為，應(yīng)從全球背景來(lái)看待杰尼斯問(wèn)題。

另一方面，許多西方媒體報(bào)道說(shuō)，杰尼斯問(wèn)題是一個(gè)日本專(zhuān)屬的問(wèn)題，充滿(mǎn)了對(duì)日本的娛樂(lè)業(yè)和偶像文化的蔑視。這種觀(guān)點(diǎn)試圖創(chuàng)造一個(gè)敘事，"日本是一個(gè)縱容兒童色情的國(guó)家，擁有一種始終危險(xiǎn)和有問(wèn)題的變態(tài)偶像文化“。我認(rèn)為這種觀(guān)點(diǎn)堅(jiān)持將問(wèn)題歸咎于日本文化，而使討論偏離問(wèn)題的本質(zhì)。

M: Is the Johnny Sexual Abuse Problem receiving attention in the Western media?

T: Two main perspectives [on this scandal] are emerging in Western media. One perspective is that the abuse of minors represents a systemic problem in the entertainment industry. In recent years, it has come to light that powerful and wealthy men, such as America’s Harvey Weinstein and Britain’s Jimmy Savile, have committed horrific sexual abuse and assault. So a perspective has emerged that looks at the Johnnys problem from a global context.?

On the other hand, many Western media outlets are reporting that [what has occurred at Johnny and Associates] is a uniquely Japanese problem, adopting in a tone full of contempt for Japanese entertainment and idol culture. This perspective attempts to create a narrative of Japan as a nation of child pornography which possesses a perverted idol culture which is always already dangerous and problematic. I believe this perspective’s insistence on blaming this on Japanese culture shifts the discussion away from the actual essence of the problem.

批評(píng)粉絲的聲音是厭女

VOICES WHICH CRITICIZE FANS ARE MISOGYNISTIC

M：日本娛樂(lè)產(chǎn)業(yè)是否具有獨(dú)特的文化特征？

T：在日本的背景下，杰尼斯與廣告公司和媒體制片人建立了強(qiáng)大的且具有強(qiáng)制性聯(lián)系，使杰尼斯能夠進(jìn)行壟斷業(yè)務(wù)，這是非常特別的。另一個(gè)重要特征是，國(guó)家對(duì)偶像產(chǎn)業(yè)的監(jiān)管介入不足。這不僅適用于杰尼斯，還適用于女性偶像制作公司，如AKB48，當(dāng)問(wèn)題出現(xiàn)時(shí)，日本政府很少參與其中。

最近，聯(lián)合國(guó)的專(zhuān)家訪(fǎng)問(wèn)了日本，并指出“日本政府有必要，帶頭確保調(diào)查偶像產(chǎn)業(yè)中的虐待的公開(kāi)透明，并確保為受害者提供有效救濟(jì)，包括道歉和經(jīng)濟(jì)賠償?！北M管如此，我們還沒(méi)有看到日本政府采取任何行動(dòng)。如果這種情況繼續(xù)下去，會(huì)顯得政府在試圖包庇這一產(chǎn)業(yè)。

M: Do the Japanese entertainment industries not possess any unique cultural elements?

T: What can be said to be distinctive to the Japanese context is how Johnny and Associates created a strong coercive relationships with advertising companies and media produces that allowed the agency to conduct exclusive business. Another important feature is the lack of state involvement in regulating the idol industry. This is true not only for Johnnys and Associates, but also for female idol production companies such as AKB48, with the Japanese government rarely getting involved when problems arise.

Recently, experts from the United Nations visited Japan and pointed out that “[i]t is necessary for the Japanese government to take the lead in ensuring a transparent investigation [of abuses in the idol industries] and ensuring effective relief for the victims, whether it is an apology or financial compensation.” Despite this, we have yet to see any action from the Japanese government. If this continues, it will look like the government is trying to protect the industry.

M：在韓國(guó)，公平貿(mào)易委員會(huì)于2009年引入了一個(gè)制度，以防止超長(zhǎng)期合同，而此前一支人氣團(tuán)曾指責(zé)公司強(qiáng)迫他們簽署所謂的“奴隸合同”。

T：說(shuō)到韓國(guó)，有趣的是看到他們的粉絲文化與日本的文化有多么不同。許多日本粉絲認(rèn)為，為了保護(hù)他們喜歡的偶像，他們必須同時(shí)保護(hù)偶像的公司。然而，韓國(guó)粉絲的立場(chǎng)經(jīng)常是“保護(hù)偶像免受公司壓迫”，這表達(dá)了他們對(duì)偶像經(jīng)紀(jì)公司的強(qiáng)烈不滿(mǎn)。這可能是因?yàn)轫n國(guó)經(jīng)歷了殖民統(tǒng)治和獨(dú)裁統(tǒng)治，形成了“需要發(fā)聲反對(duì)權(quán)威”的強(qiáng)勢(shì)文化。

M: In South Korea, the Fair Trade Commission introduced a system to prevent ultra-long-term contracts in 2009, after a popular group accused an agency of forcing them to sign so-called slave contracts.

T: Speaking of Korea, it’s interesting to see how different its fan culture is from Japan’s. Many Japanese fans think that in order to protect their favourite idols, they must also protect the idol’s company. Korean fans, however, often take the stance that they must “protect their idols from their agency,” expressing their strong opinions against idol management companies. This may be because South Korea, which has experienced colonial rule and dictatorship, has a strong culture of “needing to speak out against authority.”

M: 在日本，發(fā)現(xiàn)喜多川對(duì)未成年性侵后，批評(píng)偶像文化本身的聲音變得更加強(qiáng)烈。

T: 我看到某位公知在社交媒體上評(píng)論了關(guān)于喜多川和杰尼斯的事情，他說(shuō)：“杰尼斯是一個(gè)沒(méi)有真正才華的假明星帝國(guó)。” 這個(gè)說(shuō)法讓我感到相當(dāng)惱火。罪犯是喜多川，而杰尼斯偶像可能曾是他的受害者，但他們卻成為了“他們之所以成為明星，是因?yàn)樗麄兪窍捕啻ǖ膶檭骸钡任勖哪繕?biāo)。這種觀(guān)點(diǎn)的也勢(shì)必伴隨一些評(píng)論，比如?“粉絲審美差”，并且“他們毫無(wú)批判性思考地消費(fèi)喂給他們的東西。” 隨著新聞評(píng)論員開(kāi)始批評(píng)杰尼斯，這種對(duì)粉絲的偏見(jiàn)也開(kāi)始出現(xiàn)。

M: In Japan, after Johnny Kitagawa’s sexual abuse of minors was discovered, voices criticizing idol culture itself have become stronger.

T: I saw a certain public intellectual comment on SNS about Johnny and Associates, saying, “[i]t was a kingdom of fake stars (with no real talent).” That statement made me quite annoyed. The perpetrator was Johnny Kitagawa and Johnnys idols could have been his victims, but they have become targets of slander such as “[t]hey became stars because they were Johnny Kitagawa’s favourites.” The corollary of this view is that fans lack “good, aesthetic taste” and that “[t]hey consume what is given to them without criticism.” This kind of prejudice against fans is coming to the surface as commentators begin criticizing Johnny and Associates.

M：我們也看到一些聲音質(zhì)疑杰尼斯的粉絲是否也要負(fù)責(zé)。

T：大多數(shù)杰尼斯粉絲是女性。日本女性社會(huì)地位較低，她們的欲望經(jīng)常不被認(rèn)為是合理的，在此情況下，偶像文化成為了女性成為自己欲望主體的少數(shù)幾個(gè)場(chǎng)所之一，具有重大意義。如果這些虐待事件發(fā)生在男性主導(dǎo)的娛樂(lè)文化中，是否會(huì)有人會(huì)責(zé)怪粉絲呢？當(dāng)AKB48的一位偶像因丑聞而剃光頭時(shí)，曾有人質(zhì)疑過(guò)日本的偶像文化，但我?guī)缀鯖](méi)有聽(tīng)到有人責(zé)怪粉絲。針對(duì)男性犯下的虐待行為，去責(zé)怪女性粉絲和女性主導(dǎo)的偶像文化，是厭女的表現(xiàn)。偶像粉絲不應(yīng)對(duì)喜多川的行為負(fù)有責(zé)任。

另一方面，一些粉絲攻擊性侵犯的受害者，比如主張“喜多川被強(qiáng)行出柜了”。這個(gè)觀(guān)點(diǎn)是錯(cuò)誤的。我作為一個(gè)同性戀者，讓我感到憤怒的是，喜多川已經(jīng)化身為了gay的負(fù)面刻板印象，比如“一個(gè)侵犯小男孩的老頭”。不用質(zhì)疑，問(wèn)題不是喜多川是gay，而是他對(duì)兒童犯下了可怕的性侵犯行為。因此，討論喜多川是否“被出柜”也是在轉(zhuǎn)移真正的問(wèn)題。

M: We’re also seeing the emergence of voices questions whether Johnnys fans bear responsibility too.

T: Most fans of Johnnys idols are women. In a country like Japan, where women have a low social status and their desires are often not recognized as legitimate, idol culture has been of great significance as one of the only sites where where women enjoy being the subjects of their desires. If these incidents of abuse had occurred in a male-dominated entertainment culture, I wonder if there would have been voices blaming the fans? When an AKB48 idol shaved their head due to a scandal, there were voices questioning Japan’s idol culture, but I hardly heard any voices blaming the fans. Blaming female fans and female idol culture for incidents of abuse committed by men is a sign of misogyny. Idol fans do not bear any culpability for the actions of Johnny Kitagawa.

On the other hand, some fans are blaming the victims of the sexual abuse, saying things like “Johnny is being outed as a gay man without his permission.” This perspective is wrong. As a gay man myself, I find it infuriating that Johnny Kitagawa has come to embody negative stereotypes of gay men, such as “an old man who preys on small boys.” Of course, the problem was not that Johnny was gay, but that he committed horrific sexual abuse against children. *As such, focussing on whether Johnny was “outed” also deflects attention away from the real issue at stake here (*I have added this sentence to clarify something left unstated in the original Japanese).

M：粉絲可以做些什么嗎？

T：我以前的一個(gè)研究重點(diǎn)是BL的世界。在上世紀(jì)90年代，有一個(gè)稱(chēng)為“腐爭(zhēng)議”的辯論。在這場(chǎng)辯論中，一些gay評(píng)論家強(qiáng)烈批評(píng)女性在消費(fèi)gay的情感，認(rèn)為腐是女性將她們的利己的幻想隨意投射到gay角色上，是一種”表現(xiàn)“的篡奪?！案癄?zhēng)議”其間存在很多批評(píng)，和主要是女粉絲和gay之間的激烈辯論。這些對(duì)心愛(ài)文化的批評(píng)在當(dāng)時(shí)引起了女性粉絲的困惑和反感。然而，通過(guò)相互討論，腐爭(zhēng)議不僅減少了在BL作品里對(duì)gay帶有偏見(jiàn)的問(wèn)題表達(dá)，還使日本的BL文化得到了進(jìn)一步發(fā)展，使我們看到了對(duì)gay更深層、更敏感的表達(dá)創(chuàng)作。

對(duì)于那些被杰尼斯偶像拯救過(guò)的許多女性粉絲，了解了杰尼斯的問(wèn)題后可能會(huì)感到困惑。雖然這可能需要一些時(shí)間，但我堅(jiān)信如果粉絲們主動(dòng)采取行動(dòng)，并繼續(xù)批判性地思考杰尼斯粉絲文化應(yīng)該朝何方發(fā)展，這將有助于消除他們所熱愛(ài)的文化中存在的問(wèn)題元素，最終帶來(lái)顯著的改善。

M: Is there anything that fans can do?

T: One of the main focuses of my previous research has been the world of Boys Love (BL), where we witnessed a debate called the “Yaoi Controversy” occur in the 1990s. Within this debate, some gay critics argued strongly criticized the fact that women were consuming gay men’s romance as a fantasy, stating that “[t]his represented a usurpation of representation by arbitrarily projecting a convenient fantasy for women onto a gay male character.” There was a lot of criticism, and a heated debate ensued between predominantly female fans and gay men. These criticisms of a beloved culture caused confusion and backlash among female fans at the time. However, through mutual discussion, not only were problematic expressions that encouraged prejudice against gay men reduced in BL as a result of the Yaoi Controversy, Japan’s BL culture further developed and we saw the creation of deeper, sensitive expressions of gay men in the genre.

For many of the female fans who have been saved by Johnnys idols may be confused after learning about the Johnnys problem. While it will still take some time, I firmly believe that if fans take the initiative and continue to think critically about what fandom for Johnnys should look like moving forward, this will aid in eliminating problematic elements within the culture that they love and ultimately lead to significant improvements.

在正文之后，我想補(bǔ)充一點(diǎn)相關(guān)內(nèi)容和自己的感想。

近日B博士還指出，日本網(wǎng)絡(luò)右翼勢(shì)力在廣泛組織陰謀論（我也有意識(shí)到），誘導(dǎo)粉絲把對(duì)杰尼斯的指控和所謂“反日勢(shì)力”聯(lián)系起來(lái)，比如給參與討論的媒體扣上“投韓”或是“投中”的帽子。更有甚者說(shuō)受害者和在維權(quán)的韓國(guó)慰安婦一樣是“翻舊賬訛錢(qián)”。可惜的是，確實(shí)有粉絲信了，雖然數(shù)量并不多。而朝日新聞已經(jīng)注意到了這個(gè)現(xiàn)象，并以為這是粉絲的主流想法（B博士認(rèn)為信的人并不多），并報(bào)導(dǎo)了，這也自然加劇了輿論對(duì)于粉絲群體的群攻。B博士說(shuō)，媒體的詆毀會(huì)反而會(huì)加劇陰謀論的蔓延，我也同意該觀(guān)點(diǎn)。

杰尼斯粉絲群體雖然人口眾多，但大多在日本權(quán)力結(jié)構(gòu)里是絕對(duì)弱勢(shì)，包括大量未成名少女和低收入年輕女性，排擠外界并同時(shí)被外界排擠，信息非常閉塞，以及還有很多客觀(guān)的弊病。這些平?？此撇粐?yán)重的問(wèn)題，使得粉絲群體難以“正常消化”這個(gè)前無(wú)古人的惡性事件。其表現(xiàn)是，在如此大是大非面前，粉絲產(chǎn)生了廣泛且嚴(yán)重的“道德判斷”失準(zhǔn)。這在我看來(lái)完全是需要嚴(yán)肅應(yīng)對(duì)的“次生災(zāi)害”，而非可以隔岸觀(guān)火的“小規(guī)模社會(huì)現(xiàn)象”。但是在性侵受害者都還沒(méi)能得到妥善賠償?shù)那闆r下，日本社會(huì)，以及粉絲群體自身都完全沒(méi)有意識(shí)到，其實(shí)相當(dāng)多的粉絲是需要“伸以援手”，而非所謂“清醒的冷水”的。尤其是心智還未成熟的未成年人，面對(duì)事件本身，和隨之而來(lái)的群體性情緒爆發(fā)，更加需要來(lái)自靠譜成年人的輔導(dǎo)。B博士作為日本女性粉絲群體的研究者，以及難得的靠譜成年（外國(guó)）人，他的意見(jiàn)正是非常難得的“伸以援手”。他這篇采訪(fǎng)著重其實(shí)就是解決一個(gè)問(wèn)題“who is, and is not, to blame”，到底什么需要被批評(píng)，什么是莫須有。借由回答這個(gè)問(wèn)題，被附加在粉絲群體身上的一些“莫須有”的罪名得以澄清。同時(shí)，他也非常直接對(duì)粉絲群體喊話(huà)“FANS CAN?IMPROVE STAN CULTURE”，“你們有能力成為改變追星文化的開(kāi)端”，并倡導(dǎo)粉絲主動(dòng)行動(dòng)，進(jìn)行批判性思考，只有改變社群的底色才能防止悲劇重演。我甚至覺(jué)得，他的某些話(huà)說(shuō)得太客氣，太替粉絲說(shuō)話(huà)，像是考慮到了要委婉地指出問(wèn)題，才能更好地引導(dǎo)思考。

作為曾經(jīng)的姨媽社群的積極分子，我真的很愛(ài)這個(gè)社群，這里記錄了自己太多快樂(lè)和自由意志。所以我才對(duì)于現(xiàn)狀如此痛心，比起受害者，我甚至更心疼姐妹，心疼這個(gè)社群，心疼到要找心理咨詢(xún)師話(huà)療不夠，再找?guī)讉€(gè)朋友話(huà)療的程度。我搞這些信息搬運(yùn)，是我自不量力的掙扎，因?yàn)槲遗律缛涸谕鈶n(yōu)內(nèi)患下，既無(wú)內(nèi)部抑制力，又無(wú)外部支援，被某種無(wú)名的壞東西裹挾，一去不復(fù)返，之后換一片土地重生，然后悲劇循環(huán)。我所做的說(shuō)難聽(tīng)點(diǎn)就是“自我滿(mǎn)足”，因?yàn)槲抑肋@并無(wú)卵用，只是在嘗試拯救自己內(nèi)心里很重要的一部分。我現(xiàn)在已經(jīng)不會(huì)為自己其實(shí)做不了什么改變而難過(guò)了，但是我還是會(huì)去做吧，為了自己。