内娱女演员，不配当“窝囊废”？

Author | Xie Wuji

Edit | Tan Shan Shan

Title Picture | Nagi's New Life

Recently, the movie "Sauce Garden Lane" directed by Chen Kexin officially announced the full lineup of actors, and the 31 actors who participated in the show were arranged in order of appearance, Zhang Ziyi ranked first, and the previously rumored actor Lei Jiayin ranked sixth. In this luxurious cast, someone found a "too dazzling Hua Point": "Why is Lei Jiayin's resources so good, he can always play the leading role in the movies of major directors, playing a son in male movies, and playing a fool in female movies?"

There was a highly praised comment in the comment area: "He chose the right track." ”

Lei Jiayin's comfort zone is to play a "wreck" well. (Photo/"Hot and Hot")

The word "waste track" can be said to accurately define Lei Jiayin's market positioning. Not only did he die on this track, but he also rode the dust. Looking at it, there are really a lot of actors competing on this track, Shen Teng, Guo Jingfei, Bai Ke and Lei Jiayin are called "Waste F4".

In the current film and television dramas, you will find that the "domineering president" has long been unfragrant, and "wretched" is the track that the actor wants to squeeze into the most. There are many tricks in this track, and netizens even subdivided it - the young Peng Yuchang is wasted, the rich straw bag is wasted Sun Yizhou, and the middle-aged counterattack is Xu Zheng, Huang Bo, Dapeng, Huang Lei, etc.

"The Annual Meeting Can't Be Stopped!" can be called a "middle-aged wrecked men's party". (Photo/"The Annual Meeting Can't Be Stopped!")

"Pocket man" is not a derogatory meaning, it refers to a successful person who is not greasy in appearance and does not have a "daddy taste". Their "nest" is, to some extent, in line with the current mid-life crisis. The image of an honest person who is a social person with a low profile will make people feel sorry for the weak.

Paradoxically, when we discussed the "Waste Track", it was all male actors who came up. So, where did the actresses go?

Domestic entertainment actresses, when they can't be "wrecked"

If it is said that the waste of the nest is a new way of play, Lei Jiayin can be said to be "the god of ancient Greece who is in charge of the waste of the nest". Especially the role of Haokun he played in the movie "Hot and Hot", presenting an image of a collapsed nest in all directions, with a kind of mourning of ordinary people and the viciousness of honest people.

On the other hand, Le Ying played by Jia Ling in the film, no matter how useless she was in the early stage, and it could be regarded as a semi-permanent state, she still couldn't go to the end with a frank and sloppy appearance. Le Ying's final self-victory in the boxing match is, to a certain extent, not only a manifestation of women's awakening, but also a kind of "expectation" that has to be used.

昊坤，最“废”的健身教练。 （图/《热辣滚烫》）

However, Le Ying is already one of the few female wretched characters in domestic entertainment. In mainland film and television dramas, female characters are not ordinary at all, let alone female losers, they are generally face-painted - beauty and ugliness, good and evil, smart and stupid, pay and selfishness, in such a comparison, they are either "housewives" who can go to the hall and kitchen, or "strong women" who dominate the workplace with high heels, "green tea", "little three", "gold worshippers", "silly white sweet" and other labels are also common, and there is always a lack of ordinary people's life atmosphere.

As for middle-aged female characters, the most common are two faces - those who are married are facing a cheating crisis, and those who are not married have become "strong women" or exploited "leftover women", such as Luo Zijun and Tang Jing in "The First Half of My Life", Gu Jia and Wang Manni in "Thirty and Standing", Andy and Fan Shengmei in "Ode to Joy".

Luo Zijun has transformed from a housewife to a working woman, but why must housewives lose? (Photo/"The First Half of My Life")

The recently aired "Today's Them" has a stalk that has been ridiculed by the group on the Internet - "Sister Man has to fall in love when she comes to the mainland". Charmaine Sheh, who has just become popular with "The Queen of News", plays the role of Liang Qingran, a "strong woman" who is over forty years old in the play, although there are famous scenes of cool dramas such as "angry dumping of mom and treasure man", but those golden sentences are so stiff that they seem to be prepared for hot searches. Liang Qingran killed all sides in the workplace, but with a female competitive color, claiming that he would never cooperate with women, saying that "love is just to meet women's animal needs", but he still can't escape the plot setting of love.

This kind of "strong woman" setting, in domestic film and television dramas, you can find hundreds of similar roles.

Liang Qingran's "strong woman" setting is so stiff that it can't resonate with women. (Photo/"Today's Them")

The most common middle-aged female characters in family dramas often end up in a mess, and the role settings are mostly "tiger mothers" who love to talk and "good wives" who go crazy at any time. The most typical example is the "national daughter-in-law" Haiqing, who played Tong Wenjie in "Little Huanxi" still carries the shadow of "Double-sided Tape" 17 years ago. The difference is that Tong Wenjie has a glamorous side in her career.

In the play, Fang Yuan, the husband played by Huang Lei, also matches the "wretched track". Even if Fang Yuan was out of the nest, when he returned home, under the backdrop of his scolding wife, he could still show the "wisdom" and "cuteness" of a middle-aged man.

Haiqing put on a suit, but still couldn't escape the "national daughter-in-law" setting. (Photo/"Little Joy")

The essence of the character design of "Waste Man" lies in presenting a low-profile version of "human husband", these characters usually have ordinary appearances and all-round down-and-out social functions. But when it comes to the actresses, you will find that they don't meet the requirements just from their appearance - the most incompetent ones in urban dramas are just "Silly Bai Tian" and "Little Three", their appearance is still beautiful, and the female characters in family dramas are usually beautiful and virtuous wives, either running a family or guiding the situation in the workplace. From the outside to the inside, I can't find a real "wretched girl".

Perhaps, you can find a rare "nest girl" character in Taiwanese dramas, such as Carina Chen, a 39-year-old who has no house, no car, no husband and no children in "The Raising of a Vulgar Girl", and who lost her job. The setting of this female loser is not deliberately reversed at the end. Carina Chen still chooses to be ordinary but honest, ordinary but justifiable to move forward and be a "vulgar girl" who accepts herself.

In recent years, it seems that Taiwanese has always been able to find creative samples from a female perspective. Jian Qingfen and Rebecca in the hit drama "We Are Not Kind Enough" both have the human flaws of "not enough" in ordinary people, but they can delicately reflect the individual's observation and thinking about the times and life.

Carina Chan's lines always resonate with the audience. (Photo/"The Cultivation of a Vulgar Girl")

In contrast, the female characters in domestic dramas are more like tool people serving male audiences. Jiu Yewei, a writer and screenwriter who created "The Year in a Hurry", talked about the confusion of current creation on Weibo. In her opinion, creators have become cautious because of the constraints of the creative environment: "Women can't experience suffering because they will be called misogynistic, women can't fight with each other because they will be said to be female competition, women can't give for love because they will be said to be in love, women can't be too strong, because they will be said to have no sexual tension." So what kind of women can exist in a work of art?"

These words aroused the dissatisfaction of many netizens. Many people said that she was excusing herself from her creative dilemma, throwing the blame on the audience market and creative environment, without listening to or facing up to the real needs of the audience.

Screenshot of Jiuye Wei's Weibo. At present, this Weibo has been deleted. (Photo/@九夜茴)

fell on middle-aged actresses, just like Haiqing's famous speech at the closing ceremony of the FIRST Youth Film Festival, they realized that they were in the dilemma of "having no drama to film".

From screenwriters and actresses to audiences, everyone is "complaining". At the same time, everyone can hardly escape the blame, and can only tacitly "conspire with a result" - domestic entertainment actresses, but they can't be "wrecked".

"Wasted" personality, the downgrading of women's needs?

The popular "wrecked" character in film and television dramas is the epitome of thousands of ordinary men, and it is also a mirror that reflects the needs of women - in an environment where men are generally unable to provide emotional value, women are always compromising their needs.

For a long time, the role of "human husband" in domestic film and television works has been missing, which has created the popularity of "Beta Man" in "Annual Meeting Can't Stop!". Ma Jie, played by Bai Ke, can meet the needs of women for men to some extent: he is not so self-motivated at work, and he can provide appropriate emotional value when he returns to his family.

The difference between "wreck" and "husband" is that they adopt an evasive posture of emotional labor in the family. Haokun in "Hot and Hot", or Su Mingcheng and Su Daqiang in "It's All Good", they don't have to meet women's emotional needs and expectations, and even bring burdens and burdens.

To a certain extent, the personality preferences of film and television characters can reflect the game of the relationship between men and women in terms of discourse. From the domineering president to the wretched, the demand reference of the female audience presents a polarized situation, but it lacks the posture of both men and women.

The setting of He Ruizhi and Jian Qingfen in "We Are Not Good Enough" makes people feel pitiful and hateful, as real as most people around us, with human weaknesses. (Photo/"We Are Not Kind Enough")

In the context of the current gender relationship, the high-ranking "alpha man" will always be contaminated with an uncomfortable sense of fatherhood and greasyness, even if the female senior intellectuals and rich girls standing at the top of the pyramid can't escape the trap of scumbags, the thriller of "domestic violence" and "wife murder" in reality is far better than that of crime suspense novels.

Nowadays, young people are often "afraid of marriage", and the preference of film and television dramas for "wretched" characters seems to respond to this social mood, from which we can get a glimpse of the mentality of female audiences "treating others in their own way" - although "wretched men" are not all-round capable and cannot provide emotional value, at least they have a low threat in terms of discourse and will not bring a strong sense of oppression.

But what makes people think about it is extremely frightening, isn't the universal victory of the "wretched man" the passive demand of the female audience? Because the male role that can really meet the spiritual needs of the self continues to be missing, the "wrecked man" has room to turn around, and even the "ordinary man" is not so eye-catching.

"Alpha Man" would not say such lines. (Photo/"The Annual Meeting Can't Be Stopped!")

Why can't female characters be a wreck? Maybe it's because they don't meet society's expectations of women. For a long time, domestic film and television dramas have focused on male audiences as the creative anchor, and the "gold worshipping women" corresponding to the "Phoenix Man" often do not end well, most of the female characters are good and bad, and those in the middle gray area, even with flaws, are also good and evil, but there are very few ordinary female images.

In recent years, among the film and television works focusing on women, "Love is Delicious" may be regarded as a rare sample that can truly show the light of ordinary women. Liu Jing, played by Li Chun, is an ordinary girl with mediocre abilities in all aspects and little self-motivation in the play. She is confused, Buddhist, and at most interested in the usual things like cooking, but she still lives freely and happily. Her two best friends also have their own personalities, not like the same face as the idol drama girl.

"Love is Delicious" is a female group drama. (Photo/"Love is Delicious")

In the final analysis, what is lacking at the moment is not the big heroine film and television drama, but the film and television narrative that presents women's inward individual awakening and self-growth. Women should not look outward and adjust their image in society's expectations.

"Fleabag", the most mournful heroine in the universe in "London Life", lives like a "monster" who lives in a mess, but she knows love better than anyone in the play, and she also has the courage to live for herself.

There are also many delicate and heartfelt female-themed works in Japanese dramas, such as "100 Yuan Love", "Nagi's New Life" and "Restart Life". At the end of the play, even if women do not wait for the expected counterattack life, but have a sober explanation of themselves, is it not a kind of individual victory?

The so-called "good people" may be people who do not really know themselves and avoid themselves. (Photo/"Nagi's New Life")

Why are the urban independent women portrayed in film and television dramas unlikable and criticized as stereotypical and boring once they show ambition and desire for control? Or if they present the animal side of human nature under the flow of power, why are they often judged as "bad women" and even morally condemned? When it comes to the discussion of female character loyalty, the moral bottom line is always set higher than that of male characters.

In "Tokyo Women's Illustrated Guide", the heroine Aya Saito admits her desire for material things and her ambition to chase fame and fortune, how frank and self-consistent she is.

On the one hand, the demand of female audiences has been downgraded, and on the other hand, it is also due to the long-term tilt of social expectations and moral value baselines, which has made the role of "wretched women" blank for a long time. The common demands of women today are not truly respected – they need to be looked at, heard, and understood, rather than ignored, perfunctory, and compromised.

The game between men and women in intimate relationships is one of the topics of film and television dramas. (Photo/"Tokyo Women's Illustrated Guide")

At present, with the rise of women's power, we urgently need diverse social values to accommodate the coexistence of different voices. As a result, the creation of film and television dramas can present a rich variety of male and female characters, and the audience can find the real resonance at the same frequency.

The well-known screenwriter Zhang Chun took "The Little Lady in the House" as an example in the podcast "Expand and Talk", talking about the need for a variety of heroines in today's creative market. "Women need garbage to create," he said. I encourage women's perspectives to create as much rubbish as they want, and not to have the baggage of having to write. I propose to open up the net against garbage works that please women, and use bad money to drive out bad money. ”

Isn't Zhang Chun's remark calling for a hundred flowers to bloom in literary and artistic creation that has been lost for a long time? Why not loosen the shackles on women and be a "wretched woman"? Life is not only a pole of perfection or tragedy, but the life of ordinary people is not to "catch the horse" (drama).

Proofreading: Meet

Operations: Ono

Typography: Sweet