Jay Chou can play in the Chinese music scene, and the Chinese screenwriter should not be Ma Boyong, right?

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Looking at this title, readers should know my attitude, and I gave Ma Boyong a high evaluation.

As we all know, the Chinese music scene, the original surname Zhou, in addition to the classic nostalgia, is still in the people who sing, except for Jay Chou, who mixed days to play soy sauce, there is no one who can play.

Jay Chou was lying taller than this group of people.

You know, if you go back to decades ago, whether Jay Chou can stand out in front of a large number of predecessors, you have to say two things.

It can be seen that the Chinese music scene has declined to Sisi.

In other words, if we raise Ma Boyong's TV series so high, there is only one reason, he brings us a different feeling.

Some people say no, some of the masters of TV drama producers are, such as Liu Heping.

Liu Heping has two plays, one I have only seen once, but I have quoted many times, "Yongzheng Dynasty", word-of-mouth divine drama, still high.

You use Liu Heping's words, this play he is seven points to cater to the audience, three points hidden.

Liu Heping actually has another play, which I have seen many times, but I never quote it, that is, 1566.

You see, I don't even write the name in its entirety, and I walk around.

In the words of Liu Heping, this play is three points to cater to the audience and seven points to let go of himself. As a result, the ratings are on the street.

Later, of course, the evaluation was also very high, but it was popular on a very small scale and belonged to a niche theme on the Internet.

The reason for this, I think, is that our TV series do not have a rating system.

The grading system is to produce different content according to the age and experience of the audience, and then push it to the targeted market.

To put it bluntly, what is not suitable for children is for adults, and the happy sheep is for children.

As an adult topic, you don't need to think about whether it will mislead minors.

But we don't have such a grading system, so the content that is actually taken out is according to the standard that can be seen at the age of 3.

According to this standard, the Yongzheng Dynasty is indeed a divine drama, and in the category of young and old, it is a hundred times deeper than The Zhu Gege.

To be fair, the content that can be read at the age of three, photographed at this level, in the end, no matter how profound you are, it must be a breakthrough limit.

So you will find that there is a type of film and television drama content market called the American drama market, which has a lot of very mature content.

Some people say that it is because they are very invested, well-made, and TV series are filmed according to the cost of the movie.

I think that's the reason, but not the main reason, the main reason is that they're graded.

You go to house of cards, that's for people over 30, you go to Game of Thrones, that's for people over 40.

Even if you look at Breaking Bad, it's not for people under the age of 20.

Therefore, it is not necessarily that people's screenwriters are good, but they have a content grading system, and a film and television drama for people with certain experience is much more room for free play than a film and television drama for everyone.

So from this point of view, Ma Boyong is a wizard, at least an innovator. The hardest part for him is that he shoots the depth of the servant street, but has the traffic of Internet celebrities.

So far, I have watched two of Ma Boyong's works, one is the twelve hours of Chang'an, and the other is the newly broadcast of the wind in Luoyang.

To tell the truth, just like the evaluation in the trumpet that day, Ma Boyong had no creativity, no breakthrough, and the wind rose in Luoyang was almost self-plagiarism, copying his own Chang'an Twelve Hours.

However, he still single-handedly raised the level of domestic dramas.

Some people say that it is well-made, it is a deep restoration of history, I think it is not, the place of his cattle is that he has made a sense of American drama, and there is a sense of maturity for audiences over thirty years old.

For example, you have filmed a costume drama many times, but usually there is only one dimension.

Even if it is a divine drama like Langyabang, if you look closely, there is only one dimension.

It is a game between nobles, there are no civilians in the Langya list, there is no city, there are also props, but also tool people, but also NPCs.

Ma Boyong is not, whether it is Chang'an or Luoyang, there are cities and bad people.

The so-called city well is the civilian, and the so-called bad people are the bottom.

You see datang is so prosperous, there are brothels, there are gangsters, and the families of the guilty courtiers hide in the dark and bad wells.

Children who grow up in bad wells, do they love Luoyang? love.

Does Luoyang love them?

.......

The answer is regrettable, so sorry that I can't bear to say.

Zhang Xiaojing in the twelve hours of Chang'an, ten years of Long Right Soldier, nine years of bad marshals, does he love Chang'an?

Loved so much, their eighth regiment, almost destroyed, with only nine survivors. For what? For The sake of Chang'an.

Does Chang'an love them? It's cruel. Including the original eighth regiment's vague regiment annihilation, in essence, Li Linfu and other people were vying for merit.

The bad messenger in Luoyang, Gao Bingcang, he just wanted to take his friends who grew up in the bad well to see Luoyang together.

The result is the end of the game. They saw that someone had assassinated the prince and went up to help, but the prince withdrew, no one cared about them, and they were wiped out by the Assassin Corps.

Is there a place to reason? No.

They were the lowest level of luoyang in the whole, the families of the criminal courtiers. No light is allowed without permission.

But do they have love? Yes.

There is a deep friendship between Zhang Xiaojing and his former partners who fought side by side, and there is a deep friendship between Gao Bingzhan and his partners who grew up together.

Gao Bingzhan went out alone to find the real culprit, became a wanted criminal, sneaked back to the bad well, and found that the one who took care of his elderly and demented mother was his former little friend.

This kind of home can not return, at the door to watch the old mother weeping pictures, and the towering palace, and the prosperity of the liquor store, the bustle of the casino, in the pen of Ma Boyong, as if there is no conflict, it seems that nature is like this.

One moment you enter the bustling court, the next you enter the hustle and bustle of the city, and the next you enter the dark bad well.

It seems that there is no intersection, and it seems that there is intersection everywhere.

Those princes and grandchildren may not be happy, they have their joys and sorrows, just like in the bad well, there is also true feelings.

You can often see the betrayal, Zhang Xiaojing has a feeling of being tired and being used to be betrayed, and Gao Bingcang also has it.

You can deeply feel that there are so many lies, so many benefits, so many betrayals, but there are so many true feelings.

Intertwining all this, the author does not criticize, does not give any personal subjectivity, is all bystander.

Just like the towering head of the Buddha, he seemed to be quietly staring at the human world, watching all these sorrows and joys, but his eyes were full of desolation.