Before the article starts, take it easy and share a joke:
Sorry, not very funny.
On the contrary, it's a bit heart-wrenching.
The things encountered are terrible, the negative information is read too much, no matter where it is, it may suffer from such a voiceless foul language syndrome.
Backstage, I also often receive similar sentiments from fans "distress":
"I feel like a dump inside, I'm angry, but I can't do anything."
Burnout, political depression, ostentation, hollowing out, anxiety...
When such words appear frequently in life, a disease of the times may pervade all around us.
Life is like a trapped beast, how to run away?
Piao is not a psychiatrist and cannot give professional advice.
But in this case, "seeing the same kind" may be the best consolation — it turns out that I am not the only one who is living like this.
"My Diary of a Runaway"
The screenwriter is already the living sign of this drama - Park Hye-young, the screenwriter of Douban 9.4 "My Uncle".
Two weeks after airing, "My Departure Diary" also rose from 8.9 to 9.1.
It has real, concrete, and subtle moments of sparkle.
Through the accurate capture of life and emotions, the delicate inner activity of the characters, it carefully peeks into your life.
When domestic dramas do not have the ability to feel the pain, they use dog bloody heads and industrial fake sugar to whitewash Taiping.
"My Departure Diary" shows us the complete opposite path – trying to present the truth of life and peel away your indescribable pain.
Life is not a loud noise, but a whimper
What does such a good "My Departure Diary" say?
I'm having trouble.
This feeling, like someone asking you to introduce yourself to a life of two points a day, what can you say?
The same goes for this show.
Most of the time, it's a daily routine that's everywhere:
In a corner of the office building, the girls in the cubicle, like the CBD on the marching road, the crowded and noisy commuter subway, the dinner table with three meals a day to talk about.
The heroine, Lian Meizhen (played by Jin Jiyuan), is in such an ordinary and everyday system.
A contract worker for a large company in the glossy capital, whose family lives in a rural area of Yamapo City, Gyeonggi Province, a few minutes' drive from Seoul, and it takes up to two or three hours to travel between home and company.
From Mei Zhen's every move, we can capture the embarrassment of social fear when she is forced to socialize.
When the crowd rejoices, the limbs that cannot be stretched naturally;
When she was pushed out by her colleagues to play bowling, the first time she played, not a single ball was pushed, and the attention of her colleagues also shifted elsewhere;
Colleagues leave early at dinner and live far away from home, which can be a good reason for her.
Before she could explain where her remote home was, the focus of discussion had long since shifted.
It turned out that everything about themselves was unattended.
Colleagues wonder, how can you spend your youth on the way home every day?
The answer, of course, is to live with your family and save money.
But the real voice inside might be:
If you live in a closer place, will life be different?
Mei Zhen's heart is a state that can never be filled.
Nothing interesting, didn't want to travel, no money.
Trying new things always fails, and from an early age I feel like a person with an allergy to new things.
Even the swimsuit is an indigo jumpsuit without any freshness.
I don't want to learn anything anymore
In the air-frozen office, she heard the same crazy voice from her boss as always, and Mei Zhen secretly squeezed her hand.
Without thinking, the boss annotated a full of error correction comments on the PPT, making a familiar voice to colleagues, "What kind of garbage is this?" ”
Reality is like a sealed glass bottle, suffocating, cramped, and colorless.
So Mei Zhen imagined that there was a person worthy of love in her life every overtime night, every day as plain as water.
In reality, the only ex-boyfriend who has intersected is just a garbage man who cheated on a credit card loan and disappeared.
Every month, he also has to pay him a high loan, guarding the bank card balance that has bottomed out.
Ironically.
Every day, when I was struggling with my life, one of the company's departmental centers was named much like one of the organizations in "The Handmaid's Tale", the "Happiness Support Center".
She will also jump out again and again to remind her how different you are from others.
The HR, who always occupies the entire screen with a front, in the face of the most "vicious", told her to join the fandom (interest group).
After being frequently called to the "Happiness Support Center", Mei Zhen suddenly cried.
The beauty who usually doesn't say much and doesn't show her emotions, sobbed, frightened HR.
It's not the fault of the Fandom, it's not HR's fault, it's just day-to-day life, as Eliot said in The Hollow Man:
"Maybe the way the world ends / not with a loud bang / but with a whimper"
The way the xenomorph digests the world is to let the whimper suppress the anger.
Mei Zhen was not the only one who was asked to join the FanDom.
Single fathers come home every day to take care of their children, but they are forced to participate outside of work;
Uncle 40+ doesn't understand why you can't let introverts stay introverted and have to toss together?
The uncle is obviously a minister, but in the face of young and poor work ability of subordinates, he can not get angry, because he is old and does not understand the new things of young people.
An outlier is an outlier.
Aliens can only change themselves, not others.
Because I deserve to be angry
My anger was clearly deserved
But to endure again and again is too painful
Mei Zhen is on the way to work, so she describes herself as not knowing where she is trapped.
I hope that my life can be really happy and happy, and I hope that one day I can sigh:
"This is life, this is what it feels like to be alive."
After the grief, there is life
Career invisible 35+ boundaries, so that many people are confused, is not 35+ people, should go to death?
In this drama, we can see that 35+ ordinary people who are still not dead and are still ordinary and alive.
Oh, and there are people who live like me.
In addition to Mi Jeong, the protagonist also has his brother Chang Hee (Lee Min Ki) and sister Ki Jeong (Lee Ae), who also commute to Seoul.
His brother Chang-hee, who was born in 1985, works as a convenience store retailer and has been working in the field for many years, but he still can't get promoted to the position of supervisor in the office.
Because I owed a loan in the past, I now even have to ask my father to buy a cheap electric car.
He said in a sad but funny voice:
Couples kissing also have to be picked up in the car, and everything happens in the car.
But I don't have a car, Dad!
He also has a magical metaphor:
If Korea is an omelette, a glossy Seoul is an egg yolk, and Gyeonggi Province, which surrounds Seoul, is a protein.
So, Seoul is a nutrient-rich yolk district, and Gyeonggi Province, where they are located, is an optional protein area.
Brother Chang-hee feels that he will not survive in New York, only in Seoul;
Sister Mi-jeong asked this question, is it possible that if she was born in Seoul, will her life be different?
The protagonists in the play all say some nagging words.
Ponder their decades of life, as well as their own hearts, dig them out to show you and tell you.
Sister Jizheng, picking and choosing a lot of male objects, but never met the right person.
Choose too much, but don't know what to choose.
Instead, he envied a life without choice.
I should have been born in the Joseon Dynasty
"From today on, he is your other half"
And the answer was, "I, I'll love him with all my heart."
A blind date asked her what the note given to her on her friend's phone was "the woman who picked up".
Ki-jeong finally has a chance to explain her view of love:
When I was a child, I saw a story in a history textbook that when her husband was beheaded, the wife rushed forward and caught her husband's fallen head with her skirt.
In Ki-jeong's mind, "the highest state of male-female relationship" is to "catch his head."
In Ki-cheng's view, this is the imminent death of love and loved ones, and the final protection of dignity is sacred and unspeakable.
However, when she explained, the blind date was only stunned.
Blind dates and brothers, these men, can not understand this point of view - you, you, you, you, you want to cut off my head?
Since they all live so lonely and desperate, how can we digest these sorrows?
The answer is in the title – my departure diary, the escape.
Some people say that a more appropriate title than the Korean translation would be "My Liberation Diary".
Three people who did not want to participate in any of the fandom meetings simply formed a fandom meeting together, which was called the "Liberation Fraternity Association".
It means liberating oneself.
How can people trapped in life liberate themselves?
The people in the play are not sure.
The uncle said that if I wanted to liberate myself, I would have to resign or divorce.
Another single dad said, I've done this already.
The three men remained silent.
A funny detail is that the three men held a "liberating themselves" meeting and ended up choosing a position that didn't have to face each other, because talking face-to-face would feel oppressive.
Colleagues don't have answers, and those around them don't know.
Mei Zhen's neighbor is a neighbor from a foreign country, whose origin is unknown. A man whose name is not even known has only one surname, Gu Shi (Sun Xijiu).
In addition to doing farm work for her family every day, Gu Shi drank cup after glass of wine, and his heart was covered with scars that others did not know.
Mei Zhen and Gu Shi are like volcanoes that have not yet erupted.
However, how the two silent volcanoes will each "liberate themselves" is the biggest myth of life.
The people in the play muttered to themselves that life is like a chronic pain.
But as Liang Wendao's program "One Day Talk" said, after the grief, there is vitality.
First of all, you have to cut open the pain, don't whitewash, don't escape.
After realizing and experiencing the numbness and hopeless pain of life, you can think about what to do.
A domestic drama without the disease of the times
The disease of the contemporary era is that everyone is eager to "mess up" for a while in a tired society.
Many people begin to realize that the individual is just a screw in the machine, just Prometheus who is eaten by vultures day after day.
It is said that the three East Asian countries hold hands, but the theme and style of Japanese and Korean dramas have long been in the forefront in the past decade.
They began to pay attention to ordinary people under this disease of the times.
But domestic dramas do not seem to have the ability to feel pain.
In the face of post-modern society and the post-epidemic era, domestic dramas are like a hollow person.
They may have caught up with the mood of the group, but they are not invaded, and the bottom is still cold.
The people in domestic dramas are like social people who are at ease, doing the most glamorous work, saying the best words, and living the most correct and impeccable life.
They live only by the weak and the strong, climbing from the middle to the top of the pyramid and then eliminating the bottom.
Just take Yoko Spicy's new drama "A Year Without a Job" as an example.
Looking at the name, the introduction and the fresh poster style, I thought it was the Chinese version of "Calm Leisure", how to re-heal themselves after hitting their jobs.
Unexpectedly, good guys, the opening is a two-piece set of urban dramas:
Strong women were robbed of the supervisor position by interns, strong women could not balance family and life, resulting in her boyfriend being robbed by green tea, unemployed and lost love, so miserable!
Then slowly play a marketing topic:
The replica lin has it, angry at me!
Tired.
It turns out that they don't care about the "unemployed youth" or the living conditions of contemporary youth, but they just turn a corner and shoot a successful person's life of how chickens fly and dogs jump.
And the groups that Japanese and Korean dramas focus on are not only marginal groups.
They also focus on ordinary people, photographing the daily life and plight of ordinary people who are rarely concerned.
While showing these daily routines with "grayscale" themselves, they use seemingly random "golden sentences" to hit your long-lost tenderness.
They are obviously so cruel, but they are so warm.
Drama.
In "Romantic Physique", the man's comfort to the heroine who has experienced the loss of love, no, ah let's talk about an earth-shattering love, is a line from "Casablanca":
"Toast to your eyes."
My tenderness at this moment is to warm your eyes, no matter what you see.
Japanese drama.
"Quartet", the four protagonists, are all middle-aged people (except for the little sparrow), no career achievements, middle-aged divorced, can only rely on playing the violin to live a life of failure.
The little sparrow decided not to visit the father who had harmed her all her life and was about to die, and inexplicable pain and guilt surged into her heart.
Volume spoke to her with a few faint words:
A person who has eaten while crying
I will be able to live strongly
And the ordinary people of domestic dramas are like the protagonists in Japanese and Korean dramas looking up to, successful people sitting in front of large floor-to-ceiling windows.
They always have an energy that is not afraid of chickens flying and dogs jumping.
The spirit that can be tossed around seems to have not been consumed.
It's not just goldfinger that's called distortion.
Obviously, the lives of the vast majority of people are so plain as water and slowly hammered.
How can they be like this, rich and grasping horses, and strong resistance to pressure?