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王星以光头形象讲述被骗经历，电诈团伙为什么要强制剃光头？_我的网站

A | The debate around cinematic narratives and representation has taken a personal turn as Diljit Dosanjh recently shared a hard-hitting post on his Instagram stories. He shared a report highlighting the stark contrast between the reception of mainstream patriotic films and the ongoing struggle of his long-delayed biopic, Punjab 95. The post shared by Diljit draws a direct comparison between how certain roles are celebrated versus others that face hurdles. It points out that while Diljit receives widespread acclaim for his participation in high-profile patriotic projects like Border 2, his work on the biopic of human rights defender Jaswant Singh Khalra remains in a state of limbo. The shared content notes that Punjab 95 has been stuck with the CBFC (Central Board of Film Certification) for three years. This delay stands in contrast to the rapid success of other contemporary releases, such as Dhurandhar: The Revenge, which the post mentions is being celebrated even as Punjab 95 continues its battle with the censor board. Punjab 95, directed by Honey Trehan, delves into the life of Jaswant Singh Khalra and his investigations into sensitive historical events in Punjab. The film has reportedly faced demands for extensive cuts and changes, preventing its domestic release for almost 36 months. The post suggests a perceived disparity in how the film industry and regulatory bodies treat different types of stories. While films that align with established nationalistic themes often find a smooth path to the audience, biographical stories that explore complex human rights issues or historical grievances seem to face a much more rigorous and prolonged screening process. By sharing this specific critique, Diljit Dosanjh aligned himself with the conversation regarding creative freedom and the importance of telling diverse stories. For now, the contrast between the celebrated mainstream cinema and the stalled biopic of Jaswant Singh Khalra continues to spark a debate about the future of storytelling in Indian cinema. Also Read: Border 2 OTT Release: When & Where to Watch Sunny Deol’s Film?。

B | 大象新闻记者王海妹中国演员王星在获救后讲述了自己被电诈团伙控制的经历，其中提到被强制剃光头发。这一细节引发了网友的讨论。大象新闻记者在梳理过往电诈案件时发现，剃光头发在电诈受害案是一种普遍存在的现象。那么，电诈团伙为何要这么做呢？大象新闻请河南省家庭发展研究会副秘书长、国家二级心理师赵悦玲做了心理层面的分析。视频加载中...首先，剃光头发是一种极端的羞辱手段，目的是剥夺受害者的个人身份和尊严。在电诈园区中，受害者被迫以“猪仔”等低贱的身份生活，剃光头发进一步加深了这种羞辱感。其次，剃光头发可以防止受害者逃跑。

C | 如果受害者逃跑，电诈团伙可以通过识别光头来迅速追捕他们。同时，剃光头发也使得受害者在逃跑时更容易被发现并受到惩罚。剃光头发对受害者造成了极大的心理压力和精神创伤。这种行为不仅剥夺了受害者的尊严，还使他们感到无助和绝望，从而更容易屈服于电诈团伙的控制。最后，大象新闻也再次提醒大家，电诈团伙的手段极其恶劣，境外务工一定不要轻信非法渠道的招聘广告，务必通过正规的劳务输出机构进行，以保障自己的安全。

D |

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