Previously, it was said that the sibling love of all Hua Dan people was one, and the situation seemed to be neither up nor down, nor embarrassing after the broadcast.
The theme is very hot at first glance, but it seems that all of the blockbusters out of the circle are not devoted.
Wu Lei and Zhou Yutong's drama that not only involves sibling love, but also the workplace and sports theme lines, seems to be written with a "greedy for a lot" look.
Can it highlight the encirclement?
Judging from the premiere results of the first six episodes, it seems to be quite playable.
Just 4 minutes after the broadcast, the ratings broke 1
After the first 6 episodes, the hot search was even more slaughtered.
Wu Lei fully proved to the audience that "Xiao Wu Lei has grown up and can play the male protagonist of a very Su idol drama" with the role of Ashile Falcon in "Long Song Line".
Zhou Yutong in "I'm Very Good in Another Country", played the sadness of urban migrant workers, which makes people particularly empathetic.
The producer Fang Lemon has a "small" series of family dramas and female group portraits such as "Thirty Only" and "Twenty Not Confused".
In front of the stage and behind the scenes, it can be regarded as a high configuration of strong cooperation, right?
Let's talk briefly about the first six episodes.
First, the emphasis on details and the sense of atmosphere is greater than the tendency of "all relying on suspended gold fingers"
Perhaps because the filter for the realism of Zhou Yutong's previous workplace role is still there;
Perhaps the opening scene of the play lays out a relatively less suspended main line of work;
Perhaps because the heroine handles the hot and cold advances and retreats in the incident, and the emotional card ratio of the reason card is appropriate;
Perhaps a combination of the above factors;
"Love Only" Liang Youan's work is bad, and the look and feel is relatively comfortable.
Although some of the content is only the difference between fifty steps and a hundred steps, at least it is better than the outrageous workplace characters who rely on "walking with the wind, golden sentences by cursing, and work by filters".
It is not to scatter out and "write with fanfare", but to collect it inside and take a delicate and thoughtful route.
At least the ideas and directions are good.
The first stroke of workplace shaping does not start from the office, but from the serious invasion of private life by work.
Liang Youan especially wants to raise a dog, and after applying for adoption, he is frequently disturbed by work calls on weekends during interviews with dog owners.
Hang one and come another.
You see, "a lot of phones, so busy", this is the regular configuration that all plays will use, and it is not worth much.
However, Liang Youan refused the first and should be the second, adjusted his attitude according to the position, and the workers could not push away the sadness that they could not push, and the display was relatively hierarchical;
In addition, special attention is paid to Liang Youan's plan for the dog, her meticulous and thoughtful work, love for dogs, and regret that it is difficult to get what she wants to be disturbed.
After entering the work part, the first crisis Liang Youan dealt with was to change the seat number.
It's dramatic, but the texture is light.
The core appeal is "to get our boss (as a representative of the primary sponsor) to be in his rightful place in the group photo".
The goal is clear and clear, but the technique is difficult to say.
However, after a series of bridges to deal with other problems, Liang Youan's evidence-based, soft and moderate communication skills are much more visible.
For example, a colleague and Song Sanchuan, who came to be a male rabbit, had a dispute.
Colleagues have a bad attitude of "don't pick if you want money", bad words, bad attitude and impoliteness, but the request cannot be considered unreasonable.
Liang Youan's handling is much softer.
From being reasonable and communicative, to taking a step back and putting yourself in the other person's shoes, to giving a little concession within the remit, to picking off the bow and replacing it with a dog, the whole communication feels comfortable.
Although I personally think that there is no big difference between the bow and the dog (isn't it still with a pink rabbit ear), I think that Song Sanchuan agrees that the attitude and favorability score are greater than the factual differences, but I think this paragraph is trying to warm up the content and workplace work ability.
The overall look and feel of Liang Youan's work content in "Love Only" is good, on the one hand, it uses specific communication details to replace the suspension of "ruthless words" and "bizarre tricks".
The gentle communicative, calm and cute character is very likable.
On the other hand, it uses the embarrassment of being trapped in a bottleneck, repeatedly asking for a job transfer but being torn apart by the boss to apply, and using the difficulty of personal choices and company intentions to trigger the resonance of the more resonant cornerstone of "workplace difficulty".
On the other hand, it uses a moderate idol drama-style filter and an overly excessive "bubble with beautiful love" to add a little moderate sweetness.
Ability to have a sense of value online, but without overemphasizing the suspension "cool" of calling the wind and rain;
There is a sense of helplessness that is quite restrained, but it does not over-exaggerate the grievances and depression of being cornered;
Three points of difficulty, three points of excellence, three points of sweetness, can be regarded as a good balance debugging in the women's workplace line and CP love line (prelude).
Second, two-way support in difficult situations
1. Same kernel under different dilemma surfaces
In the current main story line, Liang You'an and Song Sanchuan are generally considered work and business relationships.
Liang Youan wants to select potential spokespersons for the company, the boss likes Jin Yi, who has good grades but poor character, and Liang Youan knows Song Sanchuan more deeply and likes Song Sanchuan, who has an unstable performance but is worth investing in for a long time.
The different focus orientations of Liang Youan and his boss are ostensibly the difference between the direct executive level and the leadership who only controls the general direction, one has time and energy to learn more, and the other only has enough time to scan the data.
At the same time, at the same time, at a deep level, it is also the difference between the two "utilitarian theory", Jie always pursues interests in business and business, pure and rude pursuit, and Liang Youan has a little more conscience that has nowhere to place.
Her career promotion channel is not clear, her personal attitude and the company's will are not aligned, and she is difficult and constrained step by step.
In such a situation, Liang Youan and Song Sanchuan can be regarded as meeting in a sense in the lonely "end of the world" in a busy city.
From the perspective of external conditions such as age and social experience, Liang Youan and his colleague Knight obviously belong to the same level, and there are many gaps with the "little fart child" Song Sanchuan.
But from the inner dimension of "struggling in difficulty" and "seeking peace of mind", Liang Youan and Song Sanchuan are the confidantes and two-way salvation in the same trench.
Song Sanchuan's mouth is smelly and soft, a stinky face, a cold expression, and a knife mouth.
Liang Youan is rounded on the outside and good at compromise, but inside he is cold and cold, and has a particularly hard and strong hand.
In a sense, it is also complementary.
2. A delicate sense of substitution that gradually heats up
What is particularly commendable is that "Love Only" does not adopt the pre-mode of idol dramas "one glance for ten thousand years" and "inexplicable is like", and gradually adds heating factors to the relationship between the two.
The hierarchy is clear, the temperature is clear, and there is a sense of good atmosphere with a more substitutionary sense.
(Post a paragraph from the first episode that I boasted about earlier)
The so-called "human relationship" such as help and feedback between the two people has come and gone.
On the sidelines of the marathon, Song Sanchuan noticed that Liang Youan's mouth was peeling and gave her a bottle of water;
After that, on the training ground, Liang Youan gave her a bottle of "drink in one breath to ensure that your breath is smooth".
They are all "a little kind care sent when everyone is not aware of it."
Another example is the bridge where two people give each other bandages, although it is very tacky and old-fashioned.
But there are back and forth, but it breaks the blunt sense of routine.
There is also a bit of warmth based on goodwill to return the favor.
For example, there are many small details in the play.
When eating wontons, Song Sanchuan found that Liang Youan did not eat coriander.
The second time they ate ravioli together, he helped pick out the coriander leaves.
(Coriander grievance, coriander did something wrong woo-woo)
Compared with the scene of the two swinging together in the play, I personally prefer details such as coriander.
Song Sanchuan's mouth is hard and soft-hearted, running marathons to earn money to donate to patients in the cancer hospital, not just donating, wanting to give secretly, and even being reported as a thief caught by mistake, and refusing to take the initiative to explain that this is a donation.
(related to the heart knot) Although such a protagonist's kind filter and aura are a little dizzy, after all, the personality shaping of the character's "hard mouth and warm heart" runs through from beginning to end.
At the same time, Song Sanchuan's observation power is online, and he can find details and reflect them in small things, and the closed-loop perception is good.
In contrast, the picture of the two swinging together in the play, "to make something sweet, so whether it is naïve or not" is too strong;
This kind of content is more suitable for appearing in the MV, and the sense of atmosphere of the picture beauty and sweetness is greater than the substantive content;
After the relationship between the male and female protagonists in the play reaches a certain stage, inserting a MV is also a reasonable and routine operation, and this one seems to be a little too early.
Liang Youan's attitude towards Song Sanchuan began with the kindness of leaving more lines in his consistent style, entangled in the embarrassment of choosing the wrong person to fail the other party and his own cognition, and warming the warmth and comfort of the goodwill being rewarded;
Although there is no exciting content at present, step by step from strange to familiar to another look, the rhythm is comfortable.
Song Sanchuan is quite innocent, and his eyes are currently quite innocent.
Anyway, it's a bit good.
In essence, the content of the male and female protagonists in "Love Only" CP line is still a special supply of idol dramas.
Highly idealized, beautiful, and pure.
However, in the complex utilitarian relationship between colleagues who fail to confess and beat the rake, and in the difficult work of the boss, this cherished and joyful without impurities, not involving calculation, and not asking about gains and losses, becomes more and more brilliant and transparent.
Third, group portraits
In the group portrait part of the play, Song Sanchuan's unwilling father An Cong (Tu Songyan), Liang Youan's boss Jie Zong, and his wife Chen Ke, who has only appeared once in the first six episodes, are very memorable.
An Cong and Song Sanchuan appeared together in the dilapidated hut on the crowded street, bringing the outside oil and the inside warmth of the human fireworks.
Tu Songyan is perfect for this type of character.
An important scene at the beginning of the fake father and son is that people who covet the storefront and cannot make it come to the door to make trouble, take flour to impersonate ashes, and distort the facts to accuse An Cong of making black money from cancer patients.
On the surface, this paragraph is writing about Song Sanchuan's decisiveness, intelligence and ability.
He saw through the scam that "it was flour, not ashes", quickly poured flour on lighter, threatened "with the concentration of flour in the air now, it may explode at any time", and said ruthlessly that "the next person lying in the urn will not know who it is".
This section is too dramatic, and the aura of the "lone hero boy" in the city is too full, but it is easy to make people feel empty.
On the contrary, An from such a stubborn character who has no goldfinger opening and hanging ability in his technique can add a sense of landing and warmth filter.
The daily content of the stepfather and son (such as picking salted duck egg yolk and other content), there are not many scenes, but the texture is overall good.
The boss Jie, the shaping is also very interesting.
The quiet oppression of the superior, the deceptive words of hanging a carrot in front of the nose, etc., are typical.
In the first six episodes, Chen Ke did not have many scenes, but there was an unshakable sense of power in the gentleness, which inexplicably made people feel good.
On the other side, Liang Tao, the son of President Jie and Liang Youan's half-sister, these two future happy and unhappy families, the scene is noisy, old-fashioned and shriveled, and the method of wanting to promote the first suppression feels "Yang", which seems very unpleasant at present.
Jin Yi, who is closest to the face of the "villain" in the first six episodes, assumes an important drama contradiction promotion function.
Strung together the limited helplessness in Liang Youan's work and the pitiful bullying situation of Song Sanchuan Stadium, the functional module of the role is too obvious and exposed.
At the shaping level, the traces of Facebook, typing, and routine are very heavy.
Internal entertainment dramas (or assembly line products) are particularly inclined to create this disgusting type of person who "makes people's teeth itch and writes bad things on their faces".
It is understandable to write about human weaknesses and personality negatives, but this practice of "putting all the hatred on the surface" is the same as artificial sugar and artificial arsenic, and the artificial craftsmanship is very heavy.
Personally, I don't think this is a single pot in the performance of actors, from the director to the screenwriter to the actor, all links work together to create plastic roles.
The line of Liang Youan and girlfriends in "Love Only" made me a little confused.
Zhou Yutong's previous "I'm Very Good in Another Country" and the sisterhood of the four little girlfriends are very moving.
The lemon team is good at filming female group dramas, and the friendship between the little girls in the two "Twenty Not Confused" also poked me in particular.
("Thirty Only" I can't get it very well when the three get along)
"Love Only" pre-arranged standard girlfriends for the heroine, her role function, the first part closely follows the hot topic, the latter part rounds up is "the heroine's feelings in and out of the heart overseas voice broadcast".
The former, such as dealing with the content of fighting for custody with the ex-husband, the bridge is set up around various sensitive topics, but the content is shallow and superficial, and the progress bar is very unsolid;
The latter's intention to try to make golden sentences is obvious, but the heroine is disgusted with the ambiguous colleague gradually getting better, the story process itself is clearly expressed, and then there is a game of "chatting with girlfriends", the essence is repetitive and the texture is slightly shriveled.
The beautiful affection of the girls helping each other in "Other Country" and "Twenty", from the perspective of the leather story in "Love Only", all of them.
But perhaps because of the subtle routines and deliberateness, the look and feel is difficult to match the previous work.
(Of course, this may also be related to the different types and focuses of the play)
Of course, on the whole, "Love Only" does not look bad.
epilogue
The urban dramas that are closest to daily life are also the most difficult to shoot in a certain dimension.
Excessive beautification of the protagonist, easy to distort gold fingers;
Excessive face-painting negative resistance, easy to smoke miasma too bloody.
Between the daily trivialities, dramatic tensions, and the thrill and sweetness of idol dramas, it is certainly not easy to have the right proportions.
"Love Only" may be quite a brave attempt.