Uncle Yu is becoming more and more unable to understand internal entertainment.
Recently, another word has become popular, an actor in domestic entertainment.
A separate track has also been carved out, under which there are various subdivisions.
Uncle Yu pondered, isn't "wreckage" used to scold people?
As a result, the competition on this track is not small.
Chen Jianbin was pulled into the track because of the cowardly performance of the characters in the new film "The World of Grass and Trees".
He also threatened to shine in this field and show his style.
Netizens from all walks of life also began to list the "waste ceiling" in their minds.
There are even fans who use their bags to set up their idols.
Uncle Yu was puzzled, why this kind of character can be popular.
Some people say that it's just a joke, and the audience likes it.
Some people also say that this is a new means of whitewashing in domestic entertainment.
But the incomprehension also arouses curiosity.
Uncle Yu wants to see where this "wreck" is-
Check Baidu Encyclopedia's definition of "waste".
It refers to cowardly and incompetent, humiliated (ironic), or waste.
But the waste character of internal entertainment is obviously not so strong in derogatory accusations.
And it's more like talking about the character image they play than the actors.
Here are a few typical examples.
For example, the white customer who started the discussion of this track.
In "The Annual Meeting Can't Stop", he plays the role of personnel manager Ma Jie.
The main one is a sycophancy to the leader and the most fresh and natural sycophant.
But at the same time, he has a point.
Working as a cow and a horse in the workplace is to make money to support your family.
After all, the wedding ring does not leave his hand, and he is homesick when he is laid off, as if he is a husband with a sense of responsibility.
Here, the nest is a character characteristic that stimulates the audience's contrasting associations.
Also, Lei Jiayin.
As netizens said, Lei Jiayin is simply a "professional household".
The characters are basically honest people who are angry.
is like Zhou Bingkun who is always a little cringe in "The World".
Suffer losses in small things, and always can't stand in big things.
From the character to the body movements, they all reveal a nest of spirit.
But Zhou Bingkun's nest is also "non-toxic".
It's not so much a wreck, it's better to say that this is an ordinary person who has no power but is kind.
And in his life, which is always regarded as insignificant, Zhou Bingkun gave all his courage and responsibility to his lover Zheng Juan.
swallowing grievances and suffering, not because of real cowardice and evasion, but because of real concern for family.
Just looking at these characters, you will see that they are not really waste.
At most, they are normal people with good tempers, altruistic behavior, and no toxic masculinity.
Therefore, Bai Ke also single-handedly asked the audience to link "wretchedness" with "husband feeling".
What I probably like is the sense of security brought by the stability and honesty of the character.
But as soon as the track expanded, the competitors became mixed.
The advantages of the character are not mentioned, and only one person is extracted to play the stalk.
This also makes some "toxic" wretched characters suspected of being whitewashed.
For example, also played by Lei Jiayin, Chen Junsheng in "The First Half of My Life".
He cheated in marriage, and he was vague about marriage and emotion, and now he looks like a scumbag.
But the strength of his body has lowered the firepower of the trial.
Just because he was willing to be scolded after the divorce, he insisted on helping his ex-wife's family.
is also giving money and filial piety, under the backdrop of the scumbags of his peers, Chen Junsheng even reversed his reputation.
Not only did some viewers begin to understand him, "just making the mistakes that men would make."
also let the "ex-husband brother" directly achieve the peak of Lei Jiayin's career.
and Xu Zheng, who is also a "professional household with waste bags".
The various angry and unlucky egg-type roles he has played have made the nest bag a characteristic of the actor.
Even in "I Am Not the God of Medicine", the role of Cheng Yong was very typical in the early stage.
Cheng Yong's nest does not refer to economic embarrassment.
Instead, he vented all the misfortunes in his life caused by economic embarrassment on his wife.
He has a serious tendency towards domestic violence.
Asking women for the loss of male self-esteem in social life is commonly known as nest horizontal.
"Believe it or not, I'll pump you."
"Believe, of course I believe, haven't you smoked enough over the years?"
He also seriously failed to fulfill his responsibilities to the family and did not fulfill his responsibilities as a father.
After the divorce, his ex-wife wanted to immigrate with her children to receive a better education, but was rejected by Cheng Yong.
If you don't deal with the two sentences, you have to go up and do it.
The lawyer pushed and blocked several times, not only was they beaten together, but their ex-wife was also pushed to the ground.
In fact, these problems are not solved in the later stages of the character's growth.
The best he has done is nothing more than to let go of the custody of his son and let the child go to a better life.
It's just the character's nest, which is all blamed on the frustration of money and career.
So when Cheng Yong made money, he decided to continue smuggling life-saving drugs and selling them to patients.
His "nest" is overshadowed by the brilliance of human nature, and the audience only thinks that the problem is gone, or that it is no longer important.
What's even more indescribable is Su Mingcheng played by Guo Jingfei in "It's All Good".
At first glance, Su Mingcheng is both filial and loves his wife.
Coupled with Guo Jingfei's joyful interpretation, this role has become a joke in the play.
But in fact, Su Mingcheng is also very wretched.
This is reflected in the way he maintains his self-esteem and solves problems.
In the patriarchal Su family, Su Mingcheng has always been a vested interest in family resources.
But he enjoys favoritism and maintains his fragile self-esteem rather than admitting the truth.
Especially when facing his excellent sister Su Mingyu, he often uses anger to cover up his weakness.
also blamed his misfortune on the other party, and beat Su Mingyu to the point where he was seriously injured and hospitalized.
Later, Su Mingcheng also tore his face with his wife.
Until the end, the characters have not made much cognitive progress.
It's just that he reversed the direction of his fist, from beating his family to beating outsiders.
His nest was accepted, violence was suddenly rationalized, and he became a family crisis savior.
Writing this, Uncle Yu had doubts again.
If these characters are also the best of the "wreck", they are liked by the audience.
So what is this track competing, what is rushing to enter the track?
Thinking about it, you can only act as an actor.
After all, these middle-aged male characters are really lacking in sexual charm except for their pockets.
Speaking of which, the waste is not an exclusive track for domestic entertainment.
Taiwan Province and foreign countries such as South Korea and Japan have also made a lot of waste.
It's not like I don't know, but I found out that there is a big difference with internal entertainment.
The most obvious difference is the sexual tension brought by the actor's image.
For example, in the Taiwanese drama "In My Life".
Gao Jiayue played by Wu Kangren. At the beginning, his career collapsed and his love failed.
When he returned home, he was still suspicious, like a lost dog.
But at least, the figure and appearance are still there.
Decadence is the state of the character, not the self-abandonment of the actor's image management.
Similarly, there is also Kim so-hyun in the recent hit Korean drama "Queen of Tears".
The son-in-law Xianyu he played is a nest.
Family gatherings can't be interjected, and personal mental state is ignored.
always looks up to people, and is already a nominal wealthy worker.
He even wanted to take advantage of his wife's cancer to re-engage in love schemes to obtain a huge amount of property.
But as soon as the face is exposed and the clothes are taken off, the CP setting of the queen and the wrecked bag immediately leads to reverie.
Such a toxic combination became understandable for a while.
Secondly, the direction of the nest is different, and the perception is also different.
Thinking about it, the Japanese waste wood characters and Korean mourning characters actually have a sense of guilt.
In the Japanese drama "My Business is a Long Story".
After the actor Aman failed in the coffee shop, he directly chose to lie down.
I went to bed at home from morning to night, and this lasted for six years.
The only activity is to make a cup of coffee for my mother every day, regardless of whether she really wants to drink it or not.
But such a role is unexpectedly unpleasant.
The secret is that he is quite sober, and he has his own way of living without money.
He is not obsessed with defending his empty self-esteem, nor is he passing on the unhappiness of his own life.
To put it bluntly, it's financially pocketed, but not emotionally.
And this kind of character often has the flavor of rebelling against the mainstream.
Lying flat in the involution society, frustrated in the slogan of chicken blood, and trying to find their own way to survive.
In contrast, the wrecks of domestic entertainment often follow the mainstream and fail, but they insist on covering up this failure.
For them, the way to get rid of the smell of the bag is not to admit that this is their true self, but to find a way to become successful again.
It's even simpler for some viewers.
That is, no matter how wasted it is, as long as you know that you love your wife and family, you can forgive.
It's like Biaozi in "The Long Season".
If you can't do anything, you can't live a good life.
At home, he is commanding, and he has no eyesight.
Housework is not done at all.
If there are contradictions, they will not be resolved, and they will only be sloppy.
But it's only because Biaozi finally expressed his love for Liru.
Once again, this character has won the forgiveness of both his lover and the audience.
At the same time, Uncle Yu is wondering if the popularity of the sexless "wrecked" character can also reflect the changes in the mentality of some audiences.
For example, group anxiety.
Under the times, people's social life seems to turn on the red light directly at the age of 35.
The huge pressure of the times and the mid-life crisis have gradually increased the proportion of sexless marriages.
Everyone seems to be caught in the dilemma and anxiety of "love is impotent".
Disappointed in love, hopeless in marriage, and gradually lost the ability to romantic fantasies.
In and out of the play, I don't want to be good, I just want to be bad in the end.
There is no longer the energy to live a good and energetic life with a partner.
This kind of "mental impotence" is projected around the work, and it has become a discussion of the actor on the wrecked track.
Or for today's internal entertainment, there are too few characters with sexual tension.
The sexual tension of an actor also depends on the achievement of the role.
It's a pity that under the increasingly keen judgment gaze of the audience, the ancient stereotypical fantasy template has become invalid.
Recreate new fantasies, the creator can't write and won't write.
knows what role makes people angry, and relies on scolding to gain popularity.
Writing this, Uncle Yu suddenly thought of "My Liberation Log".
The heroine no longer wants to live as hopelessly as ashes.
She begins to crave to show affection and even worship someone with someone.
Let emotions and fantasies fill this withered body and mind.
And when the experiment begins, the same days do never look the same again.
Light and shadow create dreams, and dreams are fantasies.
Perhaps, create a character who can hold fantasy.
The fire in the audience's hearts will be ignited again.