"Si Teng" is nearing the end, and it is a deliberate effort to restore the plot of the novel. In order to increase the length, the addition of the emotional drama of Si Teng and Qin Fang is also beyond reproach.
However, the additional emotional drama completely made the personalities of both Si Teng and Qin Fang ooc.
The gentle Qin Fang couldn't move and got angry and vented his emotions on others.
The domineering Sitten became a little woman.
Why is that?
Because the screenwriter and director all feel that the love scene is only this routine:
Men should be crazy about love, and women should be humble for love.
It is estimated that the director has not come out after filming "East Palace". Qin Fang's crazy appearance was like Li Chengyin's, and Si Teng's humble and miserable appearance was like Xiao Feng's.
The original emotional drama of the screenwriter and the emotional drama in the novel are mixed together, and it feels like watching two plays at the same time.
Si Teng, who has to make rules for people in everything, after having the male servant No. 1 Qin Fang and the male servant No. 2 Yan Furui, is still embarrassed to secretly brush his shoes.
A high-spirited, short-handed Si Teng, even if he can't use the TV remote control to secretly learn, but when Qin Fang is sad, he will cook a bad noodle, tell him that he made it very difficult, and then let the sad Qin Fang eat the bad noodles she made.
A domineering and independent Si Teng who only wants to be a vine, but after he likes Qin Fang in the later stage, he is moody and angry, just like the teenager who just started to open his love sinus in high school, with all kinds of delicate looks and eyebrows flying.
A Si Teng who encountered great changes taishan collapsed in front of him and did not change his color, but when Qin Fang fell from the building, he was sluggish, unprepared, and dazed for the first time, kneeling in front of him pear blossoms with rain and tears raining like silk, without the slightest analysis of why Qin Fang would suddenly fall down the building, nor did he care whether there were enemies around him who would sneak up on him, and his heart was so big that only Qin Fang was in front of him.
A Si Teng who used a plan to survive, but after being secretly calculated by Bai Ying, he did not think about how to continue to live, but directly leaned on Qin Fang's side and planned to wait for death...
The split of this character, for a moment I thought I was watching "Si Teng No Si Teng Split Out Again Little Maple".
Don't say that Si Teng in the novel will not do all the above original scenes at all, even if it is a love brain like Bai Ying, a childish arrogance like Xi Zhu, he will not do such a thing.
Interestingly, when many people mention the original emotional drama, they say "Can't the big heroine fall in love" and so on.
But first of all, when a drama is positioned as a big heroine, and the setting of the heroine is to be strong, deep-minded, alienated, and Buddhist, she should not be allowed to fall in love with the heroine of the ordinary small sweet drama.
The big female protagonist is to have a different emotional drama, a different perspective to look at love, is interesting.
Now all film and television practitioners know how much the audience hates the word "Mary Sue". I also understand that the current big heroine drama has a bunch of men queuing up to help, arranging backstage, etc. at every turn, which is just a Mary Sue drama dressed in the skin of the big heroine.
But when adding Si Teng's love scenes, the screenwriters who said that they also hated Mary Sue dramas would still only write about women who were shy, overwhelmed, died for men, and lived for men.
In the novel, Qin Fang, who slept until dawn and did not even see the last side of Si Teng, could suddenly wake up and suddenly help Si Teng and Bai Ying block the fatal blow in front of the demon Qiu Shan.
No matter how domineering Si Teng is in front of him, how to save Qin Fang, in the finale, we male protagonists must have a hero to save the United States??
And in the original work, Qin Fang is the descendant of Bai Ying, even if it is for the sake of trial, why can't Qin Fang be the descendant of another vine that is the same vine as Si Teng, but the descendant of the Qingtian tree that Si Teng is attached to?
Vines and trees are symbiotic relationships, and many times refer to the relationship between men and women. The idea of the screenwriter adaptation is very good, but forget that this is a big female protagonist, the vine is attached to the tree, relying on the tree to absorb nutrients, since it is a metaphor for the relationship between men and women, then it means that Si Teng relies on Qin Fang to survive?
So let's go back to the previous episodes, who left Si Teng thirty kilometers away and immediately turned into a corpse? Back to the episode where Qin Fang fell from the building, who jumped off the building and died relying on Si Teng's breath to survive?
If Si Teng was originally a tree and adapted into Qin Fang as a descendant of the vine, it would be a very natural thing. It is even understandable to adapt the two into the descendants of Lian Lizhi.
However, this kind of inverted adaptation of the cart before the horse, placed in all aspects of the original scene, can see that the fundamental fallacy of today's big female protagonist is not the so-called Mary Sue, but the female inferior idea that "women must be attached to men no matter what".