"The Long Season", which has just ended with a high score, has once again been pushed to the hot search, this time not because it breaks through the rare high scores of domestic dramas in recent years, but because of the "daddy" dispute about the show itself.
Some views point out that this drama uses six points of white to depict three points of praise for the patriarchy of "daddy taste", and successfully completes a "ulterior motives of daddy saccharin" style deception to the audience, especially female audiences. So much so that most people ignore the lack of female perspective and female stereotypes shown in this drama, which deserves a painful criticism.
But is this really the "daddy taste" of this show?
1. The "daddy smell" is stronger, and it is the barrage
If it must be said that this drama has the element of "daddy taste", then the most "daddy taste" is actually the barrage of this drama.
7 of the 10 are self-remarks full of "daddy" and ignore the plight of women at the bottom, and the remaining 3 are either untimely shaking and indiscriminate brainless attacks, or caught in self-brain replenishment and self-touching, oil and salt do not advance.
When Liru went to find Biaozi, in addition to the full screen of "takeover man" and "spare tire", it was "the happiness of the factory director, I also want to experience".
When Qiaoyun massaged Wang Xiang's shoulder and back, "take this test cadre" and "which cadre can't withstand such a test" were instantly brushed all over the full screen, although there was not a word to mention the ambiguous atmosphere of the massage between the two, but every word pointed malice to Qiaoyun.
When Fu Weijun saw Yin Hong, who was divided into corpses, even the official barrage was full of malice and father's taste, "First love turned into corpse pieces, goodbye is already five bags."
When Meisu committed suicide in despair in silence, the barrage that floated over was "Don't help wash the dishes before leaving", "Santana is also gone", "You are trying to force Wang Xiang to die", and even when greeting colleagues who came to help for dinner, the barrage was still questioning Romesu's right to be angry, accusing her of being the culprit who killed Wang Yang, "You can do something if you don't untie the rope" and "If you want to be angry, Wang Xiang is angry".
When Biaozi died, when Liru said the sentence "Let's both try again in the next life". "Honest people remember that this is the end of the receiver man" "Don't, the pit is enough for a lifetime" "Is it not enough to harm him in this life" "Who is green in the next generation, there is no green enough in this life to continue in the next life?" "and other emotional, misogynistic barrages filled the screen.
Whether it is simple shaking wit or pure ignorance, in these few minutes of the plot, there is hardly a good word for Liru in the barrage, and no one really points out the reason why Biaozi, as a college student in the 90s, can live his life so badly.
Instead, it was simply attributed to Liru with a clear pretence of confusion, and it wasn't all for women.
The only highlight moment in his life was not when he was admitted to university in the 90s, nor was he assigned to the factory office at the end of the 90s stepping on the death knell of a state-owned enterprise, but when he learned that his fiancée and the factory director had an improper relationship before, he angrily beat the factory director with a hot water bottle and buried his future in the factory.
Originally, for this laid-off meeting, Biao Zi was just a bystander, and even bragged to his colleagues before the meeting that "only official documents are left to become the director."
But after learning of his fiancée's underground relationship with the factory director, he did not calculate too much about his career future, but became angry and clashed when he added hot water to the factory director.
Audiences familiar with "Start Again"
You must know the irony of this sentence
After that, the security section took Biaozi away and beat him severely, and then the director of the plant announced the list of layoffs in advance, and the first one took Biaozi to sacrifice the flag. When naming the engine section, he removed Wang Xiang, who was holding his pigtail, and charged it with others. This kind of "those who have a bad relationship with the leader/those who have no leadership handle, out of the ranks!" The arbitrary and arbitrary criteria for layoffs made Wang Xiang, who had always been forbearing, completely erupt, rushed to the rostrum, and smashed his fist into the face of the factory director.
As a result, an unprecedented angry scene in the history of domestic dramas was born. Those who have not forgotten history may feel that this moment is to seek justice for those who fell into the water in those eras.
Although Biaozi's resentment towards the factory director stemmed from his personal affairs, it was also considered that Wang Xiang helped him load him before he fired the first shot. Considering the price borne by the workers, coupled with the hypocrisy and greed of the factory director, the subsequent conflict caused by Biaozi's outbreak this time undoubtedly has the justice of overturning the case for a group.
But some viewers did not see this, but used the spit Xingzi all on Biaozi's affairs. While they are spurning Huang Liru, a bad woman, who ruined Biaozi's great future, they are also dreaming of tragic heroism of "saving the wind and dust".
Their love and sympathy for the character of Biaozi basically comes from some grandfathers living in dreams, just like Biaozi, who has a useless stupidity in his impulse.
Indeed, he is much cuter than the shrewd little workplace bureaucrats who are always thinking small.
But his "dreaming personality" is the fundamental reason why it is difficult for him to "keep up with the new era" in the birch forest and then achieve worldly success - this can be reflected in his fantasies of getting rich by selling car logos, raising pigeons, buying lottery tickets, and so on.
It seems to say Freud, but in fact it is self-confession
Therefore, the reasons why he is poor and difficult to turn over are all attributed to "an impulse caused by Huang Liru", which really lives up to many plots designed for him in the entire play. What's more, his impulse only buried his future at the Birch Steel Factory, and Birch Steel became a distant history not long after.
There are probably some people who project themselves very sincerely in the play, although I drink, brag, don't do business, and tease little girls everywhere, but I am still a responsible, family-oriented good man, how can I live like this in this life? ——But most people don't have the bravery to go up and smash the water bottle.
Even Biaozi was able to figure out why Huang Liru left him in the end, and chose to send Liru away decently. And the rest of the audience is still immersed in the tragic heroic dream of "I have been killed by women all my life", not only can not enter, but also can't extricate themselves.
Say who is the most daddy, not the director who records everything, not the actors who restore reality to the film and television dramas, but those who still live in the beautiful dream of Biao Zi and do not want to wake up.
The work itself does not sing the "daddy taste" of Biaozi and Wang Xiang (the immature Biaozi can even be said to be the "son taste"), but it is the audience who have long been intoxicated and do not know the way back.
2. Who said "The Long Season"
No female perspective?
From the perspective of the audience behind the barrage, women as objects, especially women at the bottom, are interpreted to the extreme in ignorance.
Wang Xiang fell into this long nightmare because of the death of his son, but the core component of this nightmare was without a wife. Even the audience was still guessing when they saw the first six episodes whether Luo Meisu died or divorced Wang Xiang, because there is no trace of Meisu's life at home twenty years later.
Romesu appears neither in his home twenty years later, nor in Wang Xiang's obsession with the past.
But from another point of view, this is an intertext that echoes reality.
Romesu, a standard and typical Chinese mother, gives everything for her family, but does not deserve to be in the eyes of her family.
She is not only Wang Yang's mother, but also the mother of all of us.
She is hardworking, thrifty, obedient, silent, occasionally cunning (pretending to be sick to trick Wang Yang into eating), always soft (distressed Wang Yang untying the rope), and has only revolved around her husband and son all her life, from her father, husband, and son, and has been suppressing her own will all her life.
The only time Romesu made a decision in his life was to hang himself. Because her self-will has been suppressed so much that there is not much left, once the fulcrum around her life collapses, her life comes to an end.
When she was alive, she retired from her post due to illness at a very young age. The heart stent installed on her body is enough to buy a Santana, and from time to time she has to be recited several times by her husband and even herself, and she is suppressed by her husband to the point that she can't even make breakfast in the morning.
Her husband Wang Xiang is a recognized honest person in the labor model, good to outsiders, and left all losses for his family to eat.
The director of the factory came to the hospital to comfort him what difficulties he had in life, Meisu wanted to mention the reimbursement of the heart stent, Wang Xiang stopped him and said a few beautiful words to show his understanding and pattern.
Wang Xiang caught the factory director's cheating handle, and the factory director asked him if he needed help, not only did he not ask for his son to enter the factory, but he also gave the wine given to him by his father-in-law directly to the factory director.
While he was complacent about the false name that a newspaper could not bring any tangible benefits, his wife, Meisu, wept in the hospital over the collapse of unreimbursable expensive medicines.
In the end, it was solved by Liru.
As long as he faced his family, all the good qualities of Wang Xiang seemed to be gone, or it was a completely different way of expression.
He suppressed his wife, and even if he occasionally expressed concern, he always said it in a rebuke tone.
He suppressed his son, unwilling to understand his son's life and thoughts, belittled all his son's active choices, and stubbornly let his son follow the path he wanted him to take, without paying any attention to the impatience and depression in his son's heart.
What a typical "daddy" style of Chinese good guy (outsider version).
This suffocating "daddy smell" or patriarchal bullying has shrouded many Chinese people since childhood.
Twenty years later, Wang Xiang is not so much a tragic correction of "daddy", but rather a beautiful dream that meets worldly expectations but is unrealistic for the audience.
Because in reality, those "daddy" Wang Xiang, there will never be such a moment of awakening. Instead, it will become more intense, like the black panther in "Deep Rain", transferring his powerlessness to the current situation and life to the control of his wife and children's lives.
Romesu in the play rarely went out of the house, kitchen, dining table and bedroom, trapping her life.
Is it that she can't walk? Although her heart was stented, it did not prevent her from going out to buy vegetables and go to the hospital to get medicine.
Is it because she is not capable of disciplining her son? It is Wang Xiang's long-term suppression of Luo Meisu in the name of love, and whenever she puts forward her own ideas, she will be immediately refuted as "women's opinions" and "what do you know".
Wang Yang's death was not because of Luo Meisu's temporary soft-heartedness, but precisely because of Wang Xiang's hard heart.
Wang Yang, who wanted to get out of the control of the previous generation, but frequently clashed with his father, did not die of his own kindness, but fell into a dead end in the shackles of patriarchy.
For the perception of the future of birch steel,
Wang Yang's is much more accurate than Wang Xiang's
Doesn't Romesso have the power to anger? Don't our mothers have the right to blame and blame our fathers?
They endured all their lives, until they found this blind tolerance and surrendered their control over their children and lives, and finally exchanged for the death of their children.
Do not erupt in silence.
Just perish in silence.
After a rare but final expression of anger towards her husband, Romesuo went on to choose the latter.
Hopefully, more mothers will choose the latter. I hope that every repressed mother will no longer be silent.
The drama shows the life of a tragic Chinese woman from another perspective. It can also make people feel that the creator has examined patriarchy to a certain extent.
They gave everything, but they were not seen, not even the vague shadows of their memories.
There is no artistic exaggeration, only silent appearances.
Romesu's death is for every stoic, quiet "Chinese mother", silently expressing their depression and resentment.
3. Any feminism must return to reality
When talking about missing women and a strong "daddy taste", I felt that it was time to abandon the cool drama thinking and look at feminist writing.
The most normal and refreshing moment of the barrage of the whole drama should be the moment of silent killing, such as "the resentment of my bones and blood, it dances alone" and "if it were not for them, silence would have a good life" and other bloody words floated from time to time.
It expresses a simple view of justice that evil is against the enemy, and the way of heaven is unfair, just like Wen Endong in "Dark Glory", when revenge is successful, it is the moment when feminism and girls help girls are extremely highlighted.
But the reality is not.
Shen Mo and Wen Endong are adult fairy tales living in film and television dramas, and in reality they are more silent and obedient Meisu, Qiaoyun who accompanies wine to support his family, and Liru who recognizes reality.
In fact, in addition to the dead Meisu, Qiaoyun and Liru are both brave people in life, they have survived the wave of layoffs with their own abilities, and even opened their own shops and have their own businesses.
Liru even saved a small treasury of 150,000 yuan in 20 years on her own, and after the deposit was misappropriated by Biaozi, she quickly pulled in other investments, and her fullness and freshness can be summarized by the phrase "messing with the relationship between men and women".
Women should not be ashamed of a character image like Huang Liru, but learn from Liru's vivid and realistic side. Ask more about "did Freud divide the room", and talk less about the "I only have you" love brain.
One comment was written appropriately, "We must always be awake, don't fall asleep, don't fall asleep, leave the utopian danger of volleying void, see those real sorrows and struggles, in order to truly seek fairness and justice, and embrace feminism in the true sense."
The absence of a vision of women at the bottom is fatal when talking about any female plight, and "The Long Season" fills that vision from another unexpected angle.
Admittedly, there are angles and places worthy of criticism, but the flaws are not hidden.