Cautious as I was, I had planned to wait for the opening of "Heart Residence" and then start writing, but I did not expect to wait directly for the finale.
I am reminded of a teaching from an interview with a teacher when I was a student: "No answer is also an answer." ”
In the same way, not opening a score is also a kind of opening points.
The result of the hard drag is even more sad, barely 5.7.
Objectively speaking, Haiqing and nursery rhymes are both actors who stand out in life dramas, and "Heart Residence" is not without points of view.
There is no shortage of novelty.
Haiqing is finally no longer a middle-class professional woman in Kochi, living in a bungalow in a high-end community, the child's heart.
She played a full-time woman with a low education, Feng Xiaoqin, chasing a local man with no ambition in Shanghai, and after marriage, a family of three lived with her father-in-law and grandmother, and also brought a sister from her hometown to serve everyone from morning to night, from morning to night, from grandma to son.
In Shanghainese, it is called "buying and burning".
The daily worry includes, but is not limited to, the grandmother's body, the husband's delay in taking the exam, the son's school district, and the sister's job...
There is also a top priority, that is, the relationship with his eldest sister-in-law, a successful independent woman, Gu Qingyu.
Yes, the nursery rhyme played another heroine surnamed Gu.
The contradiction between the two is a contradiction in position, one is a foreign daughter-in-law, and the other is a local eldest sister. The essence is not necessarily two kinds of people, and no one is less attentive than anyone else between attack and defense.
In the chicken and dog fragments, "Heart Residence" can also be regarded as the small citizens of Shanghai in the "Love Myth" b side show a three-three-two two, everyone's small abacus is not stopped, making people feel tired for a while and feel stimulated.
However, after the plot came to the accidental death of Xiaoqin's husband, it was somewhat outrageous.
The abacus sound unilaterally stopped, and the story began to progress in the bizarre direction of flashing off the waist.
The progress bar runs to the characteristics of domestic life dramas in recent years - "the awakening of the heroine".
It is not that the heroine cannot have a moment of feminist awakening, can have, but can not mess around.
At least in a role like Feng Xiaoqin, because of the death of her husband, she is self-reliant and self-reliant, and this logic is very unsmooth.
Before Gu Lei died, what kind of person was Feng Xiaoqin.
The hardware is a migrant worker in Shanghai, with low education and pinched feet. Soft power is hard work, hard work, calculation can be calculated.
For the sake of the future of shanghai for himself and his children, he sent food and vegetables to send warmth for several weeks, and took Gu Lei down.
Piao wants to say a word about Feng Xiaoqin's high climb here, probably some people are not convinced.
After all, Gu Lei's performance in the play is really not good.
Lazy and cowardly, get by, have no ambition, a financial and accounting certificate can not pass the exam several times, and work hours also sneak to watch movies and play games.
Taking the evaluation standard of "good man" to measure Gu Lei, it is not a few points.
However, the evaluation method of the marriage market has always been only a contrast between the two.
Compared with the foreign daughter-in-law Feng Xiaoqin, who does not have a stable job, Gu Lei not only has an iron rice bowl that can feed and feed, but also comes from a half-bookish home in old Shanghai, a set of four bedrooms and two halls in the family, a large flat floor, and 6 people are not crowded, in addition, there is an innate advantage of being a child in the family - having a good sister who is shrewd and rich and loves his brother, but all the younger brothers really want to reach out, and the sisters are generous.
The two compartments were compared, saying that Feng Xiaoqin had climbed the Gu family high, and there was no pejorative meaning, just a fact.
As fine as Feng Xiaoqin, she naturally knows this herself, so for many years in serving her husband and a big son, she can be described as a hard worker, and she can't bear to swallow.
"Heart Residence" designs Gu Lei's hardware and software so disparity, most likely to show a kind of female dilemma in marriage like Feng Xiaoqin- gao pan swallowing needles.
In the final analysis, it is Beauvoir's line that "a woman's misfortune lies in being surrounded by almost irresistible temptations, she is not asked to work hard, but is only encouraged to slide down to achieve bliss." ”
This "encouragement" is multifaceted.
Mental brainwashing "women without talent" is one of them, and closing the vast majority of fair and just upward passages for women is the second.
As a result, women who want to achieve a class transition have to see men as a social resource, hoping to use the bondage of marriage to achieve their own leap.
But the biggest problem with seeing people as resources is "instability", and in order to maintain stability, self-esteem has to be sacrificed.
As is customary, it is called "fishing girl" by the world.
The lock lock that married Xie Hongzu in "The Golden Years" and the pain of Cao Qiqiao in "The Golden Lock" are all like this.
It could be crudely named: "The Rich Lady's Dilemma."
Feng Xiaoqin married Gu Lei, although she is not yet a "rich wife", but the essential principle is not different, and she also has the same sad shrewdness in the marriage business.
Not only in the pursuit of Gu Lei, but also in the change of room, it can also be seen.
For the audience, it is indeed easy to empathize with the needs of "hoping to have a house of their own, but also for children to have a school district", so Feng Xiaoqin borrowed money to buy a house, at first glance, it is not inappropriate.
On the contrary, Gu Qingyu, a sister-in-law who does not lack this but is guarding against money everywhere, seems somewhat impersonal.
But if you think about it, Gu Qingyu is not unwilling to help, but carefully measures how much the two people need this suite.
First, he asked his brother if he really wanted it, and then he tried to help his nephew solve the school district problem by not having to buy a house.
Moreover, Gu Qingyu hopes that Feng Xiaoqin will continue to live in the old house to take care of the elderly, which sounds selfish at first, but the legitimacy is similar to Feng Xiaoqin's statement that "being a nanny for 8 years is also hundreds of thousands".
The value of Feng Xiaoqin's daily labor exchange, in Gu Qingyu's eyes, has long been cashed in because she successfully married Gu Lei and settled in Shanghai, and there is no need to pay separately.
The most important and most hidden Feng Xiaoqin's shrewdness lies in the fact that she borrowed money from Sister A from her husband's mouth, saying that she was "borrowing", in fact, "wanting".
Gu Qingyu was well aware of this.
The younger brother has been working for more than ten years, the deposit can not even pay the down payment, and it is very difficult to repay the mortgage of the house after the high probability, and what money to pay back the sister? Is it Feng Xiaoqin's side dish? Or is it a financial and accounting certificate that cannot be tested?
And Feng Xiaoqin did borrow the down payment and borrow the decoration, and did not have the intention of making a little money herself.
The shrewdness of the foreign daughter-in-law's standing is hidden in the shadows.
And Feng Xiaoqin, who is well versed in this way, can never because of the death of her husband, she suddenly turned sexual and became a self-reliant and self-reliant woman.
The second half of De Beauvoir's words foreshadows the end of most of these stories—"When she finds herself fooled by a mirage, it's usually too late, and her strength has been exhausted in a failed adventure." ”
It is not that Feng Xiaoqin must go to the boundless depravity to be reasonable, but first, the inertia of logic is not so weak, and second, even if there is such an opportunity for awakening, most of them are not the death of her husband.
Gao Pan swallows the needle because people always want to "want both", want the inside of the brocade, and want the face that everyone respects.
But since they chose to make silk flowers, they often had to swallow their faces with blood, and women regarded men as resources to climb up, and men regarded women as beautiful facade items.
If you don't have it, it will be painful, and you can swallow it again and again, but you won't suddenly stop it.
Therefore, if you climb to the top of the super rich, in order to get both fish and bear paws, the extreme rich wife, I hope that her husband will die early.
Of course, Gu Lei's wealth will not allow Feng Xiaoqin to have no worries about food and clothing for a lifetime, and Feng Xiaoqin may not have no true feelings for Gu Lei.
Women who just agree with the same set of logic will not always choose too differently when faced with the same dilemma.
Gu Lei's death may make Feng Xiaoqin plan to start the next man, or it may make her want to borrow her child to tie up her father-in-law and sister-in-law's property, even if it is difficult to really implement the old love, it is somewhat entangled and struggling.
But it is almost impossible to play in the play, immediately refused all the help provided by his sister and father-in-law, began to send takeaways to raise children, and even fought with the neighbor who placed the glass and caused the accidental death of her husband, all of which only asked for a dollar for justice.
Such an "independent woman" has lost a little authenticity.
To put it bluntly, from feng Xiaoqin's starting point and ultimate goal of this marriage, her husband's cheating is more worth crying than her husband's death.
The more people join, the less piece of cake they have.
"Lover" is almost a typical example of the plight of the rich wife, and it is difficult to talk about this kind of problem for women to get around.
But domestic women's dramas are fun on the three words that do not match.
A role like Feng Xiaoqin is similar to the survival logic of Mrs. Rich, but she does not arrange a rich wife-style dilemma for her, and anti-love will implant this set into some strong women whose independent consciousness is implanted into the bone marrow.
It has to be nursery rhymes.
Gu Jia in "Thirty Only", an omnipotent Kochi woman with a career family.
On the surface, the family economy comes from the fireworks company run by her husband Xu Huanshan, but even the employees within the company can see that Mr. Xu is just a puppet, and the real trader is still Miss Gu.
The biggest trouble of such a character is the continuous invasion of the little three, and how to buy bags and mix them into the group of rich wives who eat, drink, drink and play cards all day.
With the aura given to Gu Jia by the script, she is carrying a four-figure bag, directly walking to these rich wives' men to chat, and still being able to start a business, without having to spend a lot of time to save the country.
This kind of strong woman who ordered her husband to "return to work when the child goes to school" before taking the baby has long been mixed with flesh and blood, and it is unlikely that she will be willing to follow the set of wife diplomacy.
And the fact that her husband has a woman outside, for Gu Jia, who is financially independent and even dependent on her husband, is at most a hurdle in her emotional life, and how it does not constitute her "gender dilemma".
But domestic dramas seem to be particularly partial to this combination of strong women + rich wives' dilemmas.
Looking at a gender dilemma template, there is another conspicuous example, Shen Comet in "Our Marriage".
In the final analysis, it is a separation between the "Declaration of Independence" throughout and the behavior of the characters.
Q: An independent woman who is more Gu Jia than Gu Jia, who can engage in rock and roll, wu neng welding furniture, independent golden sentences come with an open mouth, and has excellent financial achievements in top universities, what should I do if I want to put her into the dilemma template of "rich wife is not respected by society"?
A: Forcibly demote intelligence.
Let her just graduate on the unexpected pregnancy, a baby on 6 years, during the period seems to completely forget their ambitions, no self-learning, the so-called "only mother with" breastfeeding period has passed, do not let the husband participate in the reasonable division of labor with the baby, and then when the day, suddenly because the husband a drunken speech, began the "full-time mother to return to society" the long and arduous road.
Puzzled, very confused.
These six years are like the screenwriter for laying the groundwork for this dilemma, hard stuffing in the "antecedents", and cutting off the coherence of human settings.
Women such as Gu Jia and Shen Huixing have long been Nala who have already fled, and their question is not "how to run away", but "what to do after leaving?". ”
Their gender dilemmas, elsewhere.
It may be that when pursuing true love, it may also solve the ridiculous self-esteem of men, or it may be a big trick, the more upward, the more there is a never-ending "encouragement decline".
No matter why, at least "cheating" and "entering society" are no longer the most anxious problems for such women.
I don't know when to start, I am really tired of watching domestic women's dramas.
Most of the chicken thieves who are directly hit the cool point.
For example, "Being the Housewife", let a woman in the feudal period loudly say slogans such as "The grandmother is a woman, should she bow her head and admit her mistakes", without any scruples about the environment.
The screenwriter is completely unaware that the sentence that can shout out "should women bow their heads" is the accumulation of the consciousness of generations of women, and it is also the result of the improvement of women's status.
Putting it in the feudal era only era erased the cruel truth of female existence with a sense of coolness.
Everyone loves "The Biography of Zhen Huan", but Zhen Huan never shouted the slogan of awakening, but only used everything she could use within the indifferent palace walls to get a not-so-happy ending for herself.
Tibetan butterflies compete for favors, take pregnancy back to the palace, from the most disdainful of being a stand-in, to also learn to make good use of "pure yuan welfare".
The weak woman who calmly staged submission before the emperor was much more "feminist" than shouting slogans, and much more real.
The cruelty of covering up the truth with empty golden sentences is the most inferior means of manipulating women's dramas.
However, some slightly sincere plays are also difficult to really impress people's hearts, always with a little bit of fatigue that tickles the boots.
The recent "Hunting Crime Picture Book", the two male protagonists of the criminal investigation drama, but the cases are portraying women.
The former current male who killed domestic violence and the female mutual aid under school bullying can be seen to want to use the case to depict a female group portrait.
But in the details, it is very sloppy.
The female doctor examines the body of the sexually assaulted girl and comforts "What he left on you is not shame, it is his handcuffs." ”
The original intention of this sentence is not difficult to understand, but no matter how strange this sentence is from a literary point of view, in the real world, the victim may not want this humiliation to be directly explained by others at this moment.
The author of "Know My Name" describes his experience waking up in the hospital after being sexually assaulted:
They (the doctors) can't keep everything that has happened from happening, but they will record it... Not once did they sigh, did not pity me, or called me "little pity"... They know that shame can't breathe here and will be driven away. So I relaxed my body and handed it to them.
Such "self-righteous" details are still many in the "Crime Hunting Atlas", and in other domestic female dramas, it is not uncommon.
Domestic women's dramas always give me a sense of déjà vu of the college entrance examination English composition, with the same template, not to fail, but without a soul.
It seems that although the screenwriters regard the female theme as a piece of fragrant food, they always think that it is too hot, or the production is complicated, and they are not willing to get closer.
Finally let the women in the story look so superficial, flat, and then all embark on the road of the Declaration of Independence.
Feng Xiaoqin in the original work is at least a woman's family who will show off her style, which is also in line with most of the "rich wives' rules" who borrow hues to ascend to the throne.
But in the play, Haiqing has become a boring, decent, traditional wife, and the boss Of Shi who runs a foot wash shop is absolutely innocent and clean.
It's not boring.
And the story of women can be so beautiful and colorful, subtle and deep.
Farther away, there is the "Neapolitan tetralogy" of Lila and Elena, a long friendship that began in childhood, once out of jealousy and followed each other's shadows step by step, but achieved two different paths out of the city.
Recently, there is a Taiwanese drama "The Cultivation of Ordinary Women", three periods of life experienced by three generations of women with grandchildren, a kind of life about women in different eras.
Instead of learning a little bit of fur, we are telling stories of "big heroines" who are either contrary to the way, or young, slogan-oriented, or inappropriate.
What is True Stereoscopic?
Probably just three sentences.
In "Genius Girlfriend", Elena, who continues to read, hopes that Lila, who is about to marry, will help her read an article she wrote, and Lila, who has been smart since childhood, will help her read it, change it, and persistently re-publish it.
After that, Lila said three words to Elena.
One: "You're awesome, no wonder they give you ten." ”
Two: "I never want to see anything you write anymore." ”
Three: "Whatever happens, you have to keep learning." ”
Between three sentences, the secret jealousy, envy, bitterness, mutual help and sustenance of the two young girls are carefully and accurately displayed.
It's just a pity that such a vivid and three-dimensional woman is probably a lesson that domestic dramas can never learn.
We're too used to "labels" pushing people rather than people being exciting enough to drive the conversation.
Therefore, there are too many works with entries and no chapters, and there are hot searches without memories.