After 6 episodes of "The Sea of Dreams", a fire "burned" the play into an era idol drama
On June 3, the TV series "The Sea of Dreams" is already available for watching the first 6 episodes of Tencent Video. After the launch of this TV series, the audience was very popular, and the ratings of the CCTV TV drama channel were also very good. Obviously, the audience still prefers period drama works. Under the premise of affirming that the performance level of these young actors is at a relatively good level, the old editor would like to continue to talk about some problems at the script level of the play.
Xiao Zhan and Li Qin acted well. Please close this article after the fans of the two stars read this. The next thing I want to talk about is the script, which has nothing to do with the actors. When I first commented on "The Sea in My Dreams", I had already expressed my point of view, this TV series is a tribute to Wang Shuo and others, only learning a mold from others, but not learning the essence of others.
After 6 episodes, I was more convinced of my earliest judgment. At the same time, I am also more convinced that Xu Bing, the first signed screenwriter of this TV series, may have done some trimming and perfecting work after the script was formed. Mr. Xu Bing's screenwriting level is obvious to all. However, this "The Sea in the Dream" is too far from the true level of Teacher Xu Bing. I suspect that the play should be the work of the second signed screenwriter Zhou Heyang.
"The Sea of Dreams" reveals the breath of era idol dramas everywhere, and the screenwriter's control of the texture of the era is completely due to the predecessors, and the pursuit of the atmosphere of idol dramas is everywhere. In the 6th episode of the show, there is actually a fire scene, which vividly presents the low-end fun of the screenwriter's pursuit of this idol drama.
In this scene, a fire broke out in He Hongling's house living in the alley, and He Hongling and Xiao Chunsheng arrived just in time to rescue their mother. There were many people gathered in the alley, and everyone was watching. He Hongling rushed into the burning home, Xiao Chunsheng followed closely to protect, and the relationship between the two was confirmed. Later, the male protagonist went to find a tricycle, but the supporting actor could drive to arrive, and the "wealth" gap between the male protagonist and the male partner was very obvious.
These contents, placed in idol drama works, are very good bridge configurations. There is also the presentation of the male protagonist's boyfriend in front of the disaster, and the presentation of the boyfriend's poor economic strength after the disaster, and so on. These contents are all important prerequisites for "love considerations". Young screenwriters are also good at creating this kind of idol drama-like scene.
It is precisely because of this scene that I am more convinced that the main story content of this TV series is not from the powerful screenwriter Xu Bing. Because the old screenwriter Xu Bing would not have made such a low-level mistake. In the hutongs of Beijing, a family is on fire, and the whole hutong is watching, waiting for the female and male protagonists to come to the rescue alone, which is impractical. Beijing's hutong culture is a family in distress and rescued from all directions.
Like the scene where the heroine's house is on fire, the enthusiasm of Beijingers is to take the initiative to rescue, rather than watching from afar. In many TV series that take the realistic route, at least neighbors will carry water basins to put out fires, and there will be scenes of fighting fires one after another. Instead of the full crowd in "The Sea of Dreams", watching the excitement.
At the same time, living in an alley, one family is on fire, and other homes will only watch the liveliness, which is definitely not realistic. Even if it is not out of consideration of human kindness, only from a practical point of view, the hutong, a family is on fire, if everyone does not save it, the next thing may be to burn the entire alley. This is the inevitability of hutong culture, and everyone needs to work together to prevent fire and theft. The appearance of all the onlookers of "The Sea of Dreams" can only be out of idol dramas.
Obviously, the screenwriter does not understand the authentic hutong life in Beijing. I think the screenwriter Xu Bing must understand. But this TV series should really not be his original story, he just helped polish it, so he can't revise a lot of hard content. Perhaps, teacher Xu Bing is also very clear that this TV series does not take the path of realism, but the path of era idol dramas.
Era idol dramas require positive value allocation. Realistic dramas, on the other hand, do not have to comply with this requirement. Why? Because realistic dramas will return to a specific era and find the values in a specific era. Take an example. In "The Sea of Dreams", the supporting actor went to the imported radio, and after the actor knew it, how to design the lines? - Don't you know that smuggling is illegal?
This is actually a very timid idol drama line design. The screenwriter who really understands the specific things of that era, if he follows the principle of realism, he will not let the male protagonist engage in such positive lines. Wang Shuo would not write that, and Du Liang would not write it that way. However, an era idol drama such as "The Sea of Dreams" needs to be written like this. Why? Because it is not a realistic drama, it is an idol drama - idol dramas should consider the lack of aesthetic literacy of low-end audiences, and should not give them more advanced conclusions, but should lead them to think about those simple things in the way of plot.
Therefore, "The Sea of Dreams" at the script level, following the path of era idol dramas, the narrative focus of this TV series is just who the male characters and female characters end up with whom. This kind of drama, changing the background of an era, is still true. (Text/Ma Qingyun)