"We Are Not Kind Enough" has a good reputation, and an interview with the starring Ariel Lin is also on the hot search.
It was discovered that her acting career happened to form a trilogy of life:
袁湘琴（2005年《恶作剧之吻》）；
Cheng Youqing (2011 "I May Not Love You");
Jian Qingfen (2024 "We Are Not Kind Enough").
Each role corresponds to a different stage of a woman's life.
Source: Weibo @ one
In fact, it's not Ariel Lin.
With the development and evolution of Taiwanese film and television, the heroines of Taiwanese dramas have shown similar "growth":
Actors, characters, and works have matured and plumped together in the years they share.
And for us, especially the generation that grew up with grandstand puppets, the growth line of the heroine of Taiwanese dramas also alludes to our perception of the world.
The lives of those protagonists who have lived in their dreams have gone through a long time from a completely different starting point, and finally quietly coincided.
Looking back on the growth trajectory of the heroines of Taiwanese dramas, we can clearly see their changes and changes over the years.
First of all, in terms of personality, from "kindness" to "imperfect".
When I was a child, I watched the most heroines: Cinderella and ordinary girls, which laid the foundation for our moral education of being kind to others and even some virgins.
Yuan Xiangqin was ridiculed and even sexually harassed by Chuanjin, who has always regarded Naoki as an imaginary enemy, and she can empathize with him in turn.
Mischievous Kiss 2
Chen Xinyi, a post-it note girl with a deeply pleasing personality.
Even if the hot face sticks to the cold butts all over the world, it is still hot and hot.
"Fated I Love You"
The setting is more bitter, it is Liang Mucheng, like a bitter little white flower blooming on the edge of the cliff.
In the positive energy narrative of "the world kisses me with pain, I still repay it with songs", people are more willing to describe her with tenacity than kindness.
Next Stop, Happiness
Later, the "Queen" of "Queen of Lost Dogs" was born like a clear stream.
The biggest difference is not in her age, but in how realistic she is, to the point of being a little mean.
In order to grab the headlines, she snatched the child's bicycle in the name of borrowing it but refused to apologize.
was ruthless, and directly told a ghost story of "there is no Santa Claus in this world" in front of a group of orphans, and Cheng Paula had to call Sister Sheng when she heard it.
And the evolution of the heroine of Taiwanese dramas has even exceeded it now.
Jian Qingfen (played by Ariel Lin) in "We Are Not Kind Enough".
Decadent, jealous, will tease another woman in front of a man, and will continue to rape that woman's life at night because of jealousy.
It's not that there is any female competition, this is the true face of ordinary people's blood hula under the skin.
Life is like a pool of stagnant water, and instinctive desires are constantly at work, and she can only rely on these childish "opposites" to fill the emptiness in her heart and absorb a sense of mastery.
After more than ten years of marriage, Jian Qingfen has become a "young woman humming "Swan Lake" with a tone change in her mouth and boiling poison in her hands", full of suspicion.
Source: Weibo @ one
Rebecca (played by Xu Weining), a career-oriented single woman, was rounded off by Jian Qingfen "three", but accidentally became someone else's mistress for more than ten years.
But just like the English translation of the English name of this play, it is more appropriate than "not kind enough", "imperfect us".
They have not experienced a tough transformation from silly white sweet to evil women, but because different age groups understand the world differently, and there is a gray area in the middle of the growth process that cannot be ignored.
Another obvious change is that when the age of dreaming is passed, the idol drama component of the heroine of Taiwanese dramas has also decreased, and there is more real anxiety.
These Taiwanese drama heroines almost run through the different propositions that women face in their growth, and different ages have different anxieties, but they always know very well what we are anxious about.
In adolescence, we followed them through a series of secret and delicate girlish thoughts, happy because of her joy, but also worried because of her worries.
At the same time, we also wonder why we are called "leftover girls" and "defeated dogs" from the age of 30.
It wasn't until Ben San that we saw the age anxiety of strong women from Shan Wushuang, and those who were bound by "what 30+ women should look like" pretended to be strong:
Crying at the age of 23 is true temperament
33-year-old woman crying in the street
May be taken back by the police to investigate the mental condition
Cried out in pain at the age of 30
People will tell you to eat poop
I forgot when I started to stop crying pain
All of the above, Cheng Youqing condensed it into thirteen "symptoms of early aging".
Some people say that these heroines are always creating age anxiety, but in fact, it is not these unbearable heroines who create age anxiety, but from the society's definition of women of different ages.
On the contrary, it is these heroines who give us the confidence to resist the anxiety of age by dreaming.
Therefore, although mature women are more practical than silly white sweet, the essence is still an idol drama with fairy tale colors.
After all, not everyone is Cheng Youqing, and they can meet Li Daren, who fits seamlessly with him.
Not all of them can live as single, and in that era when they were ridiculed as "defeated dogs", they can still talk about sister and brother love with an all-round boyfriend Meimei who is eight years younger than themselves, but has a mature mind.
As the social clock goes by, women have a new social identity and begin to face family and career choices.
"Tu Li" presents Zheng Ruwei's Plan A and Plan B in a parallel time and space manner.
In front of him there is a promotion opportunity to work in Shanghai, and at the same time her boyfriend's father was suddenly in a car accident, plan A is to separate from her beloved boyfriend, but realize her self-worth in her career; plan B is to stay and take care of the elderly, work hard until the age of 35 and then get married, and then Zheng Ruwei was unexpectedly pregnant, and directly withdrew to plan C, giving birth at home and being a housewife.
Of course, the results of Zheng Ruwei's two choices in the play are extreme and beautified, but the mental journey of struggle is of great practical significance.
The reason for choosing option B is because of her high sense of morality.
Under the premise that her boyfriend faced the same choice and finally chose to be with her, Zheng Ruwei didn't dare to admit her selfishness, so her true thoughts were kidnapped by her sense of morality and chose to stay and share the hardships with her boyfriend.
The "repay" mentality of giving back to each other is also one of the reasons why many girls choose families.
Although Plan A of choosing a career has its own sense of coolness, you can still anticipate the situation of working alone outside the home: the busy period when you are so busy that you forget about loneliness, and the empty period when your life gradually stabilizes.
The married women written by mainland screenwriters are often reborn after fighting Xiaosan, or Haiqing-style budget-conscious market daughters-in-law, in short, they have to live a lively life.
But Jian Qingfen in "We Are Not Kind Enough" always wants to make some waves for the ordinary days day after day, but you can feel that behind her suspicions, it is because of the uneasiness about this stable life.
Many people are also seriously brainwashed by the female template of mainland dramas in the workplace, and it is assumed that a single beauty like Rebecca who has a good work ability will definitely be able to live well easily, but Rebecca lives another version of a 40-year-old single woman.
As soon as he appeared, he was also anxious about his life, begging employees not to resign while going to the toilet, and dealing with landlords who were eyeing him.
Although beautiful but not worthy, there is no plan to do things, and it is the delicate poverty of freelancing, and the moment when life is overwhelmed, you can see the numbness of 40+ single women to the status quo and the anxiety of the future.
At the age of forty, you will still be full of confusion about life.
Take a look at Carina Chen, who resigned and quit her marriage at the age of 40 and returned to zero in "The Raising of a Vulgar Girl".
What are you anxious about at the age of 40?
Watching the sudden death of a peer around you.
Looking at his own career, it seems to outsiders to be good, but he can't be the Lord's partner and family.
If you can throw both, you also have to worry about your "willful" choices that do not meet social expectations, which will bring pressure on your family to cope with the outside world.
But while time was chasing after them, it also pushed them.
So when she has the courage to give up everything and reset to zero, she has the same courage to say no to everything that makes her uncomfortable.
Think about what you want to protect and cherish in your limited time.
This process of gradually becoming aware of the "self" is a big step in growth.
What remains unchanged is the core of the heroines of these Taiwanese dramas.
They are imperfect, but they all have the ability to think, perceive and awaken on their own, and this invisibly also plays a guiding role for us.
In that era when there would be a "leftover woman crisis" at the age of thirty, Shan Wushuang showed us that a lone woman can also mix well.
"Soft persimmon" Chen Xinyi can also be pinched into your favorite.
After leaving Ji Cunxi, she strives to give herself the ability to reach out to the larger world, while he is walking the path she once walked.
Even if Jian Qingfen is not perfect, he is also a master who has the courage to beckon to opportunities.
The realistic thing is that these Taiwanese drama heroines have more or less fallen behind, but they can get up on their own.
Cheng Youqing once used a bag to tell us that we should never pin the life we want on others, especially men.
Although in the face of his own emotional problems, Cheng Youqing once lost himself.
But unlike Luo Zijun, who needs her husband's cheating as the driving force for her awakening, the ex's cheating is just an opportunity, not the key to Cheng Youqing facing himself.
The final awakening was completed and undertaken by her Cheng Youqing herself.
What remains unchanged is the relative position of women in different relationships.
From the sexual relationship in the previous idol dramas to the entire larger environment, women have always been in a passive position.
They seem to be independent women, but they are never the real winners.
In the relationship between the sexes, it is easy to be emotionally affected by the actions of the boy you like.
Separated from the relationship between the sexes, Shan Wushuang, who always fights for the first, once felt the weight of self-worth in his career and friends around him.
But when a friend has a man by his side, he seems to be devalued to his friend.
is obviously a proper "champion dog" in his career, but he was labeled as a "defeated dog" because there was no man around him.
In the relationship between mother-in-law and daughter-in-law, winning the love of the future mother-in-law before marriage seems to win, and after marriage, you may also taste the bitter fruit of "far fragrant and smelly".
Self-improvement is like Rebecca, trying to support herself, only to find out in the end that she has become a negative material.
Just because I'm single, I can't even decide a seat when I go to a restaurant to eat.
Passive, in fact, because the judging criteria are not in their own hands.
And customizing the judging criteria yourself is not an easy task.
They can complete socialization and grow up to be women who can live independently or have a certain social status, but they cannot expect and default to their ability to solve all problems.
Although these Taiwanese drama heroines have a guiding role for us, it does not mean that we must use preaching to achieve educational significance.
Rather, by presenting their imperfections, we can also accept our own imperfections and reconcile with our imperfect selves at each stage.
So what is valuable is the traces of the struggle of the heroines of these Taiwanese dramas.
Even if an individual has grown into an independent woman in the sense of social standards, she still has to go through a period of exploration to face herself.
Proud and independent, they will also lack empathy and do not know how to be considerate of others.
At the age of 30, you will still not be able to carry it.
once spent money to buy a man because of loneliness, changed his clothes to make himself look right with his little boyfriend in order to cater to the outside world, and even thought about giving up his career to accompany him abroad for his boyfriend's studies.
Cheng Youqing, who is also proud, is also quite unpleasant at the stage of unconsciously losing himself after meeting his ex again.
She once fell into the happiness trap laid by her predecessor Ding Liwei with her own charm:
When quarrelling, he uses kisses to escape the problem.,Good at manipulating in the name of love.。
This also gave Cheng Youqing the illusion that "she loves him", so he persuaded himself to change himself, no longer care about him eating Li Daren's vinegar, and even gave up the opportunity for promotion.
At the same time, her instinctive reaction can realize that something is wrong and resist, so she will pull back and forth again and again.
Even at the age of 30, she couldn't face up to her feelings.
Although neither the male nor female protagonists dare to pierce their friends' window paper, she and Li Daren are different.
The whole world knows that Li Daren likes Cheng Youqing, only Cheng Youqing doesn't dare to admit that he likes Li Daren, and constantly denies himself, so Li Daren just lacks the courage to confess to the parties, and Cheng Youqing lacks the courage to face himself.
Such a tangle is too rough to be summed up by a sentence of "mentally cheating scumbag", who can guarantee that he can stay sober at every stage?
To a certain extent, these Taiwanese drama heroines are the B-side of many mainland drama heroines, they present a variety of different forms of women, and they will not give us specific solutions, but they invisibly give us a firm hint:
We don't have to be likable, and we don't have to be invincible strong women.
In order to taste the taste of freedom, life at the age of forty may still be a mess of threads.
We always think that the path we don't choose is better, but in fact, we will not be completely satisfied with either option.
True relief begins with accepting one's own mediocrity and disenchanting the unknown.
Just like Carina Chan only discovered when she grew up, the haunted house that she was afraid of death when she was a child was actually not so terrifying.
Although we are not synchronized with the experience of these Taiwanese drama heroines, our mood can be at the same frequency, so we are also looking back at our own growth trajectory invisibly.
At different ages, there will be different understandings.
It's like thinking that Yuan Xiangqin taught us to be brave, but when we grow up, we realize that no matter how much we love, we can't lose ourselves.
Aside from the role, Ariel Lin, Xu Weining, Yang Jinhua, Liu Pinyan...... These Taiwanese drama heroines who have come from Taiwan puppets all the way are also growing up with us through their roles.
Constantly being our "guide" in new works may not be perfect, but it can always remind us to look at our current life.
It's a pity that the story of the heroine of Taiwanese dramas can be filmed in "The First Half of My Life", looking back at our big domestic entertainment, but we still can't get together a group of heroines who grow up with us.
I don't know if it's the audience's luck or misfortune.