The ancient puppet assembly line is here to hand in the homework again.
took over "Between the Ink Rain Clouds" and directly faced "Yan Xinji".
The popularity value exploded at the first broadcast.
But.
It's really hard to say what the quality is-
At first glance, the lineup has the potential to be a hit.
Director: Gao Yijun.
is a little famous, the director of Group B of "The Legend of Zhen Huan", and has directed "The Son of Heaven" and "The Legend of Wu Meiniang".
Screenwriter Rao Jun.
The representative work "Flower Thousand Bone", as well as a series of popular ancient puppet classics "Eternal Juechen" and "Drunk Linglong".
Zhao Jinmai and Zhang Linghe.
Handsome men and beautiful traffic artists, needless to say, they know that they will inevitably dominate the hot search.
The second look at the subject matter, the familiar formula.
The play is adapted from Mo Shubai's novel "The Eldest Princess", a classic Jinjiang literature, rebirth, sadomasochism, and reincarnation of two lives...... The whole nine yards.
Dark Horse of the Year?
Thinking too much, the old girl finished watching six episodes while it was hot, and decided-
What an ancient puppet, this is a child's play!
01
The food is tasteless
If you don't understand, just ask, is the current ancient puppet drama a nest of rebirth Wen?
One after the other.
There was a collection of cool dramas before, "Between the Ink Rain and Clouds".
Reborn stand-in literature does not fall, the big theme ex-wife kills the cuckold man, and cures the audience's mammary glands in minutes.
How else can you shoot?
"Spending the Year of China" found a new way, crazy stacked buffs, and broke out of a new track-
The male and female protagonists are both born.
The sadomasochistic middle-aged couple ended up with hatred due to misunderstanding, and with the memories of their previous lives, they were reborn to solve the contradictions and love each other again.
This setting is a bit of an idle egg pain when you hear it.
But, don't be in a hurry to scold it, because it's outrageous and not only that, the logic of the plot is more like belittling the audience's IQ, and the old girl can't help but suspect that the screenwriter has bad intentions.
First, the vicissitudes of middle-aged love mutations.
Married husband and wife for 20 years, they have been in love and killing each other for half their lives, what kind of story will happen if they do it all over again?
A reborn past life.
The identities of the male and female protagonists are respectively the 38-year-old eldest princess of the Great Xia Dynasty Li Rong (played by Zhao Jinmai), and the 40-year-old Pei Wenxuan (played by Zhang Linghe), the first assistant of the dynasty.
This life of rebirth.
Returning to the age of 18 with middle-aged life experience, the two should have been immature faces and vicissitudes of life, but what they deduced in the play is like two milky children, and rebirth seems to have lost their brains in their previous lives.
The male protagonist only knows that he sulks when he eats dry vinegar, and he can't hide his small expression when he is stunned.
The heroine, with a simple and innocent face, seems to be a little girl who can see through it at a glance.
Just look at the state of the two of them, saying that they are a middle-aged and elderly couple, who believes it?
Second, the deep hatred of the sea of blood can't match the love brain.
In the previous life, between Li Rong and Pei Wenxuan, it was a state of undying, Li Rong had the world's most beautiful man who had guarded her for many years, and Pei Wenxuan also had an irreplaceable white moonlight in his heart, and the two of them were jealous of each other and awkward with each other.
emotionally is already a misunderstanding and contradiction, and there is an inevitable power struggle, and the marriage of the two people is destined to be uneventful.
In the end, because Li Rong thought that Pei Wenxuan had poisoned herself, she sent a killer to end the other party's life before she died.
The two fought for 20 years and hated each other to kill each other, but they suddenly became calm after being reborn.
In front of her murderer, the old girl thought that she would vent her anger or avoid it, but what she didn't expect was that the two of them really loved more than the sky, even if you killed me in the previous life, I still love you in this life.
Pei Wenxuan seemed to have nothing to do, and after being reborn, he just wanted to see 18-year-old Li Rong again, and he thought about her in every detail, and he couldn't bear to ask......
Li Rong too, saying cruel words, forced Pei Wenxuan to eat the allergic lemon, and pushed him into the pond, but turned his head and softened, preparing allergy medicine and clothes, ginger soup, red dates, for fear that others would not know that you still love him......
An alternative middle-aged resentful couple returned to the soul, and this was born.
But what's the point of being born again?
The story that I was experiencing in my previous life has long been chewed to the point of tastelessness, and the screenwriter has to start over again.
02
It's not a pity to abandon it
Maybe the old girl's speech is a little ugly.
But it must be admitted that this drama is indeed unconventional and rotten out of a new realm.
Compared with other ancient puppet dramas on the market, it is inseparable from the "girl teaching" of men and women who pretend to be tender, and they will have to play girls and boys next year.
As soon as "Hua Nian" opened, it gave the old girl a slap in the face-
This...... How can there be children pretending to be old?
Q: What kind of state is the girl in the picture?
A. A princess who was born frail and sickly, living on decoctions every day, and has a maturity that does not match her peers
b. The eldest lady of a rich family wanted to go out to play but was stopped by her family, and secretly pretended to be sick to win sympathy
c. The 38-year-old eldest princess has a deep conflict with her husband who has been married for 20 years, and her life is counting down to death
Look at this again, what is his identity?
a. Wearing adult clothes and sticking a fake beard, the children of the family who went to court for their father
b. A young and old court official
c. When the prime minister is the prime minister, the eldest princess is over forty years old
No need to guess, the most outrageous one is the truth.
The male and female protagonists just had a immature face, and they didn't even wear wrinkled special effects makeup, and they were told by the director that they were middle-aged.
But, the audience's eyes are not blind?!
Actors cosplay like children, adults don't care, even the plot lines are like playing like a house.
It's still an old puppet.
All the intrigues, secret fights, and designs in the whole play are all aimed at promoting the male and female protagonists to fall in love.
For example, villains are either stupid or bad.
As soon as the first step after rebirth, the emperor chose a horse for the eldest princess, in order to balance the various families.
But you see, who did the emperor choose?
It's if you don't learn anything.
Stupid and stupid.
A reckless man only uses a strong one.
There are four people in total, and the big one in the snail is also Pei Wenxuan!
But the plot obviously won't go so naturally, so the reckless Yang family specially planned a kidnapping in order to win the position of the horse, wanting to stage a hero to save the United States, hundreds of people can't chase and catch up, Pei Wenxuan can cut off the beard single-handedly, and the two also spent the night together, because the most chastity in ancient times, so they have a reason to be together.
For another example, the maids and servants are all assisted by God.
"It's been a long time since I've seen the young master/young lady smile like this!"
It's like the audience can't see it, and every time the people around me have to emphasize it, and take the lead as a CP fan.
Pei Wenxuan's servants want to discover the young master's abnormality, how can this woman be unusual?
Also, when it comes to falling in love, the IQ decreases.
The heroine Li Rong is a very rational person in the original book, and she has never said anything to Su Rongqing after being reborn, because she knows his identity very well, and approaching him at this juncture is not only harmful to him but also to herself, even if there is a little contact, you have to avoid suspicion.
But in the play, Li Rong became a nymphomaniac as soon as she saw Su Rongqing, and confessed directly to her face, knowing what happened to him early but still not hesitating, especially after learning that she was killed by him in her previous life, she continued to treat him.
This is obviously taken away!
03
Stop, ancient puppet
Looking at the current domestic dramas, ancient puppets are flooded.
From the previous sadomasochistic torture to today's cool drama reversal, what is inseparable is the old-fashioned tradition-
can't find a flawed character, and you can see the ending at a glance.
The plot can't be studied deeply, the male and female protagonists are more like hanging up, with a perfection out of the world, but the supporting roles are thin like ornaments.
A crossing, all crossing, a crossing with different tricks.
A cool drama exploded, a collective cool remake, and all the evil mothers-in-law and little third stepmothers don't want to live today.
How so?
The creators collectively copied and pasted to produce inferior ancient puppets like assembly line industrialization.
Don't they know?
Know, but why do it!
One answer: traffic.
In the era of short videos, unnutritious short dramas have become the mainstream, and those simple and rough cool points, and the audience who watch the plots with wide openings and closes are hearty and enjoyable.
Take "The Year of China" as an example.
The rhythm of the play is so fast that it flies, the first episode of the male and female protagonists is dead and reborn, the second episode of the two know each other's identity of the crossing, and the third episode exposes the vicious identity of the second male to resolve the misunderstanding......
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Each episode has a reversal or cool point, and huge information points are piled up, which quickly promotes the plot.
But cool is cool, and then what?
The audience experiences huge emotional ups and downs in a short period of time, and in the end, only a sense of emptiness remains.
This should not be what film and television dramas are chasing.
Traffic passwords are good, but classics are by no means like that.
The audience will get bored and tired of watching too much.