In April last year, a drama called "Little Shed" pierced the hearts of many parents after the 80s and 90s.
The "terrible parenting KPI" in the play not only forced Tian Yulan and Yan Ziyou to "go crazy", but also almost made the audience "depressed".
Later, netizens set up a "concept" of the theme of this drama, called "chicken blood parenting", referred to as "chicken baby".
Because raising "chicken babies" is more terrible than 996, many viewers see the halfway abandonment of the drama:
"'Little Shedd' is quite heartfelt... tired! ”
A year later, the "baby drama" that is more heartfelt than the "chicken baby drama" has come - "Dear Child".
"Dear Child" is not only anxious, but also its "documentary"-like shots and plot design, but also makes people "afraid of marriage" and "fear of life".
"This kind of drama has been watched a lot, it is difficult to get married, what else to talk about is one child, two children and three children?"
"This drama is a horror movie, so scary, so scary."
Coincidentally, in the just-released "Heart Residence", the plot about class differentiation is also "extremely frightening".
Netizens ridiculed: This drama directly changed its name to "Mendi"! [Cover your face]
To tell the truth, "Little Shed", "Dear Child", and "Heart Residence" are all well-produced, but they are all abandoned by the audience due to deviations in values, resulting in a strange phenomenon of "considerable ratings, poor reputation, and pessimistic ratings".
Not long ago, the People's Network made a sharper comment: In addition to selling misery and earning tears, do these dramas have a deeper role?
The same is a reality drama, why is "The World of Man" so well received, so that the audience feels warm, while "Dear Child" and "Heart Residence" are anxious and extremely frightening?
10 "Careful Thoughts" in "Dear Child" and "Heart Dwelling"
Looking back at "Heart Residence", there are five plot settings that make people "think about it very much":
First, Feng Xiaoqin, who came to Shanghai to work from abroad, although she married into the Gu family as a daughter-in-law, everyone tacitly accepted that she was a nanny. If you don't come out to start a business, it will be difficult to turn over in this life.
Second, in every marriage in the play (Feng Xiaoqin and Gu Lei, Ge Yue and Gu Xin, Gu Qingyu and Shi Yuan), the personality emphasizes the "class difference": Xiaoqin is a foreigner, Gu Lei is a local; Ge Yue is the "second generation of officials", Gu Xin is an ordinary family; Qingyue is an urban elite, Shi Yuan is a "fallen nobleman"... The point is that each pair failed to grow old in vain.
Third, Gu Xin said that "you can't change your parents for anything", this endless yearning for fame and fortune, comparison, is more terrible than "lying flat".
Fourth, all the "foreigners" in the play: Guo Qiang and his wife who rely on rent, Feng Xiaoqin's sister who are the third child, and even "White Moonlight" Zhan Xiang, all stayed in Shanghai by "improper means".
Fifth, the Gu Xin family, who can afford 7 million, must be three or four times lower in front of Ge Yue's family, "the people are not as rich as the rich, the rich are not as good as the officials", this logic is a bit of the meaning of the "talisman" of the Dream of the Red Chamber...
This is probably what the People's Network said about "killing chickens and taking eggs in artistic creation"——
There are too many stories to tell about "settling down in big cities"; there are no shortage of precedents for foreigners who have made great contributions to supporting the development of big cities; and the personality characteristics of Shanghainese are by no means only "shrewd, snobbish, and calculating"...
However, the screenwriter "kills the chicken and takes the egg" and only focuses on the "inferiority, no bottom line, pursuit of fame and profit without principle" of the foreigners, and the "lack of gratitude and reverence" of the locals...
Some viewers commented that this drama is simply "all evil people", showing the ugly faces of the rentier class.
I don't know if it's too sharp to say so, but seriously... is "Heart Residence" a small pattern?
"Dear Child" is very "afraid" without "careful thinking".
At the beginning of the play, it is the housewife Fang Yinuo's real belly to horror, and in front of the mirror, she looks at the deformed and "ugly" figure with despair.
This subtle "texture" sets the tone for the whole play, and then, it is the audience who feels desperate:
1. When the wife experiences hellish pain, the husband goes home to watch the ball;
2, the wife out of the operating room has not found the ward, the husband sent the mother-in-law to the placenta cooking;
3. The wife discharges lochia, and the husband rubs the hand cream for five minutes after processing;
4, the mother-in-law compares the daughter-in-law to the "old sow" who gives birth to a child, and covets the money that her son gives to her sister-in-law...
5, even stretch marks, umbilical cord cutting, maternal leakage are really photographed...
Netizens even called "horror" - people want to watch a marriage drama, not to watch a childbirth documentary!
The audience's reason for abandoning the play does not need to be found:
"If 80% is close to life, the remaining 20% is infinitely magnified is disgusting enough."
This is like the art of painting, the artistic value of painting is the artist's creativity and conception of the scene. If it is completely reproduced and the pursuit of one-to-one realism, then it is good to look at the photo, why paint?
Ren Suxi and Qin Hao's acting skills are first-class, but putting "maternity diapers, pulling pants pockets, and eating placenta" on the screen is not far from art?
The pain of women's childbearing is real, and the boredom of the husband when giving birth may exist, but reproducing these with the lens of a "documentary" will not make women lose their dignity in childbirth? Will it not make unmarried and childless women jealous of marriage? Won't it inflame married women's dissatisfaction with their significant other?
If "the remaining 20% forcibly amplified" can have any effect, that is what the People's Network said:
Extreme problem stacking presents... It may produce a great sense of social anxiety, and even cause young people to fear marriage, fear of childbearing, and intensify family conflicts.
Why "The World of Man" is warm: suffering is just a note, and the movement is positive
What art really is and what the artist is doing is a question of the essence of art.
Film and television dramas are also an art, but different writers and screenwriters have different understandings of art, and the angle of material selection is also different.
"Dear Child" focuses on women's baby-giving anxiety and the husband's unreliability before and after giving birth to his wife.
"The World of Man" is committed to tapping into the warmth of human nature - how people can still stand on their own feet when they are lonely and helpless, and extend their helping hands to others to become a light of hope.
If you look at Zhou Bingkun's life from the perspective of "Dear Child", it may be very embarrassing:
The mother who takes care of the sequelae of cerebral thrombosis, the daughter-in-law with her sister, raises someone else's son; the daughter-in-law cooks for the child while giving the mother a and urine... The details of a concave life are "one digging and one basket".
Changing to the perspective of "Heart Residence", it is even more chilling:
Zhou Bingkun struggled all his life, and he couldn't catch up with his brother and sister's class; Zheng Juan was worse than Feng Xiaoqin in the Zhou family, more like a nanny!
But when you look at "The World of Man", you will never be anxious or afraid. Because the focus of the author, screenwriter, and director is to give the audience healing, energy, sunshine and understanding.
On "suffering", "Heart Dwelling" and "Dear Child" are not as good as "Human World".
The protagonists on both sides, on the one hand, experience the social changes of "going to the countryside, laying off, and relocating", the life of "not enough to eat, the death of their beloved son, unemployment, and imprisonment", on the other hand, they are just "having children, buying houses, and finding employment" eating and drinking Lasa.
But the protagonist's attitude toward suffering is reversed:
Zhou Bingkun and Zheng Juan have been working hard to seize the invisible opportunities in life, cherish the gifts of fate, and silently be strong, kind, and helpful (the audience can also see in them the "true nobility of people", rather than the shallow "thoughts of fame and fortune").
Fang Yinuo and Xiao Lu have been trapped in "tension, grievance, complaint, anxiety, and selfishness."
If suffering is likened to a musical note, the work is likened to a movement. Although "The World" uses the notes of suffering, the movement is positive. "Dear Child", "Heart Dwelling", and "Little Shedd" are a patchwork of suffering notes, turning suffering into panic.
No wonder netizens said:
"This kind of drama in the world is better, everyone has their own suffering, but family love and friendship will make you braver and more determined, rather than blindly selling anxiety and feeling that life is not worth it." 」
The values of "deviation" destroy the whole drama, and the choreographer's realm and sense of responsibility are too important
Life is worth it or not, it is originally a choice question, depending on how you look at it and act.
Writers and choreographers, how to deal with "life is worth it or not", out of their realm, social responsibility is different.
Realistic dramas blindly "sell miserable", which is no different from the "cool dramas" of previous years, and they are all "traffic codes". At this point, netizens are still to the point...
Although "Heart Residence" is realistic, its values are seriously deviated from it.
At the bottom level of consciousness, it is tacit that different people of the "class" are doomed to not be happy together: Feng Xiaoqin and Gu Lei, Ge Yue and Gu Xin, Gu Qingyu and Shi Yuan, three couples and three "classes", and the screenwriter breaks them apart with various forms of human nature distortion, which ... Is it in line with the social values of equality?
"Dear Child" also seems to be keen on "promoting evil" -
The high-resolution record of the pain of childbirth, the postpartum relationship between husband and wife, and the love, the sanctity of childbirth, and the tolerance of marriage are not mentioned.
How can such a play not make young people anxious?
It is not difficult to keep up with hot spots and grasp differences to "sell misery", but it is difficult to make values impartial and healthy.
This reminds me of a Douban high-scoring drama that specializes in "evil" - "The Distance Between Us and Evil".
This is a realistic drama with more prominent contradictions, an indiscriminate killing incident that has led to several families being forced to die: the victim's family: the child's death, on the verge of being broken; the perpetrator's family: the son's murder, the whole family fleeing the city; the lawyer's family: because of helping death row prisoners, being violently attacked by the Internet...
Even if the plot revolves around "evil", the protagonists are very kind, and the plot does not incite the prejudices of different groups of people, but dissects different individuals, allowing the audience to accept the complexity of people, see that courage and fear can coexist, and understand that darkness will never stop goodness.
The theme of the play is to grasp the hot spots without losing health: don't think you have the right to "kill" just because you stand on the moral high ground.
The same is true of "The World of Man", whose theme is as grand, warm and philosophical as the title.
It interprets the connotation of happiness and shapes one after another people who can endure hardships and are willing to bear the responsibility of loving their families and the country in a down-to-earth manner (the happiness of their families and chinese people is the responsibility and mission of the protagonist in the play).
Even through the role, you can feel the virtues of a nation: honesty and generosity, honesty and courage, benevolence and prudence.
Such a drama, you put it abroad to do cultural exchanges are assured, put in a few decades to show to your children and grandchildren, also at ease! This is called the realm and sense of responsibility of the choreographer.
Therefore, the drama side should no longer treat the audience as a fool [cover his face]: stop using "selling misery" to bo traffic; stop using impetuous values to brainwash the audience; stop using "metaphysical truth" and "sensational heart" as an excuse for lazy deep thinking and evading social responsibility!
The eyes of the masses are shining: Fang Yinuo's self-pity, resentment, and "life is not worth it" are not the norm of my generation. Zhou Bingkun and Zheng Juan's years are quiet, warm and strong, and "life is worth it", which is our real "tragic and joyful life".