Regarding the fact that the fairy tale dramas in the past two years have become more and more boring, netizens have been discussing it for a long time, and there are even suggestions to change the name to "fairy puppet", after all, only fairy has no hero.
Just didn't expect that the six sets of CCTV, which were called "six princesses" by netizens and seemed to have always been boastful about everything, actually criticized the current fairy drama "There are immortals and no heroes, there are feelings and no righteousness, and I see the immortals in love" on the occasion of the finale of "Long Moon Ember Ming", and the audience has long been tired of watching it.
It is the truth that the audience has suffered for a long time, which naturally resonates.
Netizen: The evil sword fairy has to talk about 10 episodes of love today!
Not only that, but also have to reincarnate three lives and three lives.
There are many and complex reasons why fairy tale dramas have become popular themes in recent years, and in my opinion, the main ones are about the following three reasons:
[Production] Compared with other themes, Xian Xia does not need much deep cultural heritage and daily observation, as long as there is a wild imagination, and the threshold for creation is low; At the same time, because of its overhead background, whether it is serving the road or passing the trial, it is less restricted.
On the one hand, costume scripts are our advantages and characteristics, on the other hand, fairy tales can be sadomasochistic for several lifetimes, and fans are so abused, typical representative Cheng Yi, only with "Liuli" and "Agarwood Crumbs" is not even called a popular drama Xian Xia whistled and became a "sub-top stream".
Traditional martial arts dramas can no longer meet the increasingly fast-paced young audiences in the fast food era, and the life and death plots of fairy tale dramas are more ups and downs and easier to catch people's attention, moreover, if they don't agree with the female protagonist, they will stab the male protagonist to death, and if they can't move, they will be buried in the three worlds, such an extreme atmosphere is in line with the increasingly serious network in recent years.
It must be said that the fairy tales mentioned here mainly refer to the female frequency fairies after "Flower Thousand Bones", excluding the male frequency fairies represented by fairy swords earlier.
The world view structure of Xian Jian Game is powerful, innovative on the basis of traditional mythology, and many settings have been used by later Xian Xia fantasy, so it can become a classic worthy of evocation and remake, and the vast majority of original novels of Xian Xia dramas in recent years do not have such charm.
This point is actually quite annoying, why is the fairy of the big male protagonist often the male protagonist upgrading to fight monsters to save Cangsheng and fall in love by the way, and the fairy heroine of the big heroine is mostly the other way around, saving Cangsheng or even ruining Cangsheng when falling in love? (Not only fairy tales, this is a common problem in almost all themes)
If it is understandable that the protagonists of the "Immortal Sword" series and "Flower Thousand Bones" love to die and live, after all, they are all boys and girls who have just opened their love, then starting from the "Three Lives and Three Lives and Ten Miles of Peach Blossoms" with serious inflation in time, the old immortals who have lived for tens of thousands of years at every turn will actually miss that bit of love and love, which is really unacceptable.
No wonder netizens have apologized to the queen mother: I blamed you when I was a child, come back quickly, take care of these immortals who fall in love all day long, the punishment of the heavenly rule, the immortal bone that should be removed!
So why are fairy tale dramas fading now?
I think that the reasons are also the above three, which can be described as success and failure.
First, as mentioned earlier, many female fairies are fast food culture with thin structure and cannot withstand scrutiny, so the routine is turned over and over is that little thing, which may be amazing at first glance, but if you watch more, you will find that it is just such a little thing, not only the story is repeated, the special effects are also similar and childish, and even the styling and even the director's lens are "borrowed" from each other, naturally easy to get tired.
Second, the delay is cool, Xian Xia has become the only weapon for capital to hold people, the suitability of actors and roles is not so important, the story and scenes are no longer new, the actors have not been surprised, so what else to watch?
A typical representative, Yang Zi's big heroine fairy drama "Sauvignon Blanc", the four male protagonists, all of which are all kinds of "explosive traffic" of betting treasures, especially Deng Wei, can be described as betting and stake.
For example, a major problem with the performance of the male protagonist of "Long Moon Ember Ming" is that he wants to be too popular, every shot must be so full that it is too late, and each picture seems to be carefully designed posing, and the deliberate sense of self-pity seems to be shooting MV for fans.
As for various disturbances outside the play, such as "the male protagonist is only beautiful", "supporting roles are not worthy of the table", "female second Yan pressure" and so on, not to mention, unless the network is disconnected, it is difficult not to affect the experience of chasing dramas - but the question is, how to chase dramas when the network is disconnected?
Third, the immortals can make people disappear with a wave of their hands, which is certainly very cool, but this session of netizens, the main thing is changeable, today the mood is not good to destroy the world, tomorrow will realize that they are as small as dust, hate the immortals why do not take the lives of ordinary people as their fate.
But this really can't be blamed on netizens for being changeable, but rather, dramas in recent years have increasingly lacked that kind of compassion.
The screenwriter always takes on the protagonist from above, and the supporting role is a tool person or even cannon fodder who is not worthy of being treated as a normal person, the sense of superiority living in the imagination, quite a bit of a void sense of dog fighting.
Xian Xia was originally the most supposed to break the secular class concept of the door and let people breathe a breath of free air, but ironically, the most feudal now is precisely Xian Xia.
Immortals do not rely on cultivation and merit to become immortals, but by hereditary immortals, the son of the Heavenly Emperor is naturally the prince, if even the immortal world is so solidified, then what is there to run for mortals to live?
Of course, the only people who really die in fairy tale dramas are always ordinary people with supporting roles, and the fairy protagonists will not die, after all, it is not love if you don't entangle for several lifetimes.
In fact, I am quite confused about this, many of the dramas I watched when I was a child were tragic endings, and I myself also preferred tragedy, which will be more memorable, including fairy sword one, fairy sword three, which are also tragic endings.
But in recent years, there is no pattern of saving the life, often only the male and female protagonists abuse each other, and then add settings such as "chasing wife / husband crematorium", and in the end it is often a reunion, even if it is not natural, it must have a happy end, what is the need?
For example, in "Xiangmi", after Jin Mi stabbed the phoenix to death, he must painfully lose half of his life to resurrect the phoenix by all means, and in the end, the two must live happily together, and even Runyu, who was once blackened into a villain, can have a good ending.
I still remember watching "Gan Nineteen Sisters" when I was a child, and the shock brought to me by suicide after the male protagonist stabbed the female protagonist to death in the last episode made me unforgettable for so many years at a young age.
Speaking of which, the setting of "Gan Nineteen Sisters" is also very similar to the popular "revenge of killing the father" in recent years, the heroine's master destroyed the male protagonist's sect, but the male protagonist couldn't help but fall in love with the female protagonist, so how did he do it?
For the sake of Shimen, he killed the heroine, and for his own sake, he committed suicide and martyrdom.
It's a dilemma, but I think he tried his best.
But now most dramas, under such a setting, can actually be he.
He is also concerned, the most bizarre thing is that the heroine of "Long Moon Ember Ming" actually tried to touch him with love after seeing the male protagonist destroy himself with her own eyes.
Not to mention how many times in reality everyone has repeated "women don't always think of influencing men", nor do they complain about how many wild vegetables the heroine should dig, and even do not compare the double standard that the heroine not only wants to kill the female second but also destroy the entire female second family after being destroyed by the female second, just talking about the plot tension, the sense of pulling the fate of falling in love with the enemy is completely gone, only she loves him super without reason and without suspense.
Of course, you can say that this is all the screenwriter's setting, the heroine also wants to kill him when she goes back at the beginning, and making him emotional is only part of the task, so this setting is already doomed to the deliberate and routine of the story.
This question is also a common problem, why do male and female protagonists have to love each other, why is there no process at all, and suddenly fall in love and love to death?
Yes, the current audience is impatient, so they want to see the male and female protagonists quickly hugging and hugging into the cave room, but in the final analysis, the screenwriter's skills are not enough, and they can't write the gradual wonderfulness in the early stage, so they can only quickly make industrial saccharin to make the audience drunk with gold.
Let's go back to the fact that the protagonist can't die no matter how he dies, which of course is to advance the plot, but it also loses the suspense and moving.
Just like knowing that the male and female protagonists will definitely love each other, the audience also knows that no matter how the female protagonist stabs, the male protagonist will not really die, so when he "temporarily dies", he abuses, but it is not so abused.
Will come back to life anyway.
That's boring.
The significance of love being more precious than life is that everyone has only one life, and if there are many times, it is not worth cherishing, so even such a major event as death becomes ordinary.
I still remember watching Huang Xiaoming's "New on the Beach", and in the last episode, he died unexpectedly under Ding Li's gun, which made my whole person stunned.
How so, he is a male protagonist, a second ago he was so handsome to kill all sides, why did he suddenly die?
How unwilling it should be to watch her beloved woman marry her former brother like this!
But there is no way, no matter how he can fight, he is also a mortal who will die if he is shot, no matter how unwilling he is, he still has to die when he should die.
I even went to the last episode of the most classic Zhou Yunfa version of "On the Beach", and Xu Wenqiang in that version died also so unprepared.
But life is so fragile, everyone is the same.
The imaginary happy ending did not appear, and the story came to an abrupt end here, leaving endless regrets, which will be so unmanageable.
I also remember watching "The Condor Heroes" when I was a child, and seeing Gongsun Luxuan die to save Yang Guo, at first I was moved, and then I couldn't help but think back, just for such a man who has only met recently and obviously does not love herself, if she still has consciousness after death, she will regret it, right?
It is the death that will never come back to life that gives the audience unlimited space for reverie.
Even the male frequency fairy in the early years was not popular for resurrection armor, Yueru died, Ling'er died, and Long Kui died, and they would not come back, so they could earn enough tears.
Although Xianjian Sanli has three lives and three lives, not to mention the audience, even Xi Yao in the play knows very clearly that Sedum is not the Feipeng she has been waiting for, and Lin Ping will also entangle who Gu Liufang is. They are not reincarnated as the same person destined to be like copying and pasting, but each life has its own personality and experience.
But today's fairy tale dramas, the same person, dying back and forth just to fall in love with the same person, has obviously killed the audience's imagination.
Therefore, today's fairy tale dramas, the more they are called "ultimate love and hate", the more boring they are.
Finally, I want to say that the standard configuration of the big explosion fairy tale drama is out of the circle song, which can make people recall the picture of chasing the drama as soon as they hear the familiar melody even after many years, and even can't help but want to relive it, so that it is possible to become a classic, in this sense, the last really explosive fairy drama is still the fragrant honey five years ago...