The domestic entertainment "related households" are flooded, and the acting skills are uneven
Once upon a time, those powerful actors in the entertainment industry who spoke through their own strength were the mainstream in our impression. They are not from famous families, nor do they have a strong background, they completely rely on their own efforts to start from scratch and eventually become stars.
However, in recent years, a large number of so-called "related households" have quietly flooded the domestic entertainment circle. The data shows that in the past five years, the number of "related households" with prominent backgrounds has increased rapidly by double digits.
These "related households" are completely dependent on the resources given by the family to survive, which can be described as "getting something for nothing".
What's more serious is that a large part of these "related households" have uneven acting skills. According to a survey by a number of entertainment review public accounts, nearly 60% of the "related households" are evaluated as unsatisfactory in their acting skills.
Some people have stiff facial expressions and lack emotion, while others have stiff and uncoordinated movements. This directly leads to a significant reduction in the overall quality of the film and television works they starred in, which seriously affects the audience's viewing experience.
Criticism of these "related households" on the Internet has also come and gone. They entered the film and television industry through relationships, but they did not repay the audience through their own efforts.
This has become a major problem in internal entertainment and needs to be paid attention to urgently.
Ren Min and Li Gengxi have become the benchmark of "related households", relying on their family background
When it comes to typical "related households" in the domestic entertainment circle, Ren Min and Li Gengxi are the two most representative. Both of them come from families with prominent family backgrounds and extensive connections, and they have relied on this relationship to survive almost since the "original sin" period in the entertainment industry.
Taking Ren Min as an example, she has been in contact with various film and television resources since she was 14 years old, and has played the heroine in many well-known film and television dramas. However, if we objectively evaluate Ren Min's acting progress over the years, we can find STATIC.
In many works, Ren Min's facial expression is stiff and lacks emotional ups and downs, which makes it difficult for the audience to empathize; Sometimes there are acting mistakes, which are embarrassing. Statistics show that the negative evaluation of Ren Min's works in the past five years is as high as 65%.
Looking at Li Gengxi again, as Xu Jinglei's good girl, she relies on the latter's resources to develop steadily. From "Little Joy" to "Celebrating More Than Years" with Zhang Ruoyun, Li Gengxi has played many female protagonists.
But it's clear that it's all about the bounty of connections. Li Gengxi's performance has no outstanding features, both his expression and temperament are very ordinary, and he does not feel like a noble princess at all.
In the past 3 years, the negative ratings of her works have also been about 60%.
Ren Min and Li Gengxi are typical representatives of related households, their acting skills are obviously lackluster, but they can easily enter the group as the heroine by relying on their background. This has seriously squeezed out the opportunities of more powerful actors.
It is incumbent upon the industry to regulate this injustice more rigorously.
Wu Yuqing and Zou Yuanqing's acting skills were clumsy, and her mother's resources helped to no avail
If Ren Min and Li Gengxi rely on their family's network resources to survive, then Wu Yuqing and Zou Yuanqing directly use their parents' aura to enter the entertainment industry.
But in the end, they all suffered negative reviews because of their poor acting skills.
Let's talk about Wu Yuqing first, as Wu Gang's son, he only entered the crew of "Hurricane" under strong pressure from his father. thought that he could easily hang a name and become familiar, but what Wu Yuqing never expected was that he would have a lot of rivalry with senior and powerful actor Li Guangjie.
In these scenes, Wu Yuqing's blunt performance was instantly exposed, and in the face of Li Guangjie's rich expressions and feints, his reaction could not keep up with the rhythm at all, and the scene was very embarrassing.
Zou Yuanqing's situation is similar. As Yan Ni's daughter, Zou Yuanqing received all-round care from her mother's friends in the circle, but she still failed to have any outstanding performance in "Undercover Police Flower".
She tried to show the sternness and majesty of the police with various contrived expressions and body movements, but everything was so blunt and contrived. The audience can't feel the emotions she wants to express at all, but it's very rare.
Wu Yuqing and Zou Yuanqing are the best examples, showing that without excellent acting skills, no matter how strong your background is, you will only become a laughing stock in the end. It is also a wake-up call for young actors who want to survive on relationships.
The phenomenon of "related households" is worthy of vigilance, and the entertainment industry needs to face it up urgently
Through the above examples, it is not difficult for us to find that the "related households" who rely on the aura of family background to survive have seriously spread in the domestic entertainment circle and damaged the overall ecology of the industry.
It is very difficult for some real acting newcomers to enter this circle, but those "related households" can easily occupy the screen resources for a long time through various shortcut resources.
This has seriously hindered the metabolism and healthy development of the entertainment industry.
If this phenomenon of "related households" is allowed to continue to spread and develop, it will undoubtedly be a huge hidden danger to the entire entertainment industry. First, it will stifle the normal material selection mechanism and lead to a decline in the overall quality of screen works; second, it will crowd out the opportunity of powerful newcomers, causing a greater intergenerational fault; Third, this mode of survival will also affect the career choice and professional ethics of the younger generation of actors.
Therefore, it is necessary for the industry to face up to the phenomenon of "related households" and take active countermeasures. First of all, film and television companies should pay attention to the actual acting skills of actors when selecting materials, and not just look at the background network; secondly, it is necessary to increase investment in actor training, especially the growth of newcomers; Finally, establish a sound assessment mechanism, so that all actors can speak through their own strength, regardless of their background.
Only in this way can the ecology of the entertainment industry develop in a benign direction.