It's a cool drama, "Homecoming**" was counterattacked by Sancheng, and the romance film is comparable to a martial arts film?After watching "Hot and Hot", in addition to Jia Ling's transformation, the deepest impression is:
Le Ying "three" Lili, from "best friend" to "enemy friend", Li Xueqin, who was lying on Qiao Shan's body on the bed, made me tremble.
The scene of being caught by Le Ying happened at the dinner table, Li Xueqin knelt on the ground, and my heart beat a lot.
Li Xueqin showed amazing acting skills, she was really hungry to be able to perform so brilliantly.
Comedy often focuses on contrast, but Li Xueqin, the actor who is least like a junior, plays a junior, adding laughter to the comedy.
This apprehensive "third son" reminds me of the controversial "third" Chu Zhijuan (played by Wang Ning).
The audience was surprised to find that in the past, the image of the junior was usually played by a bewitching actress, but now it is performed by Li Xueqin, a rising actor, giving the role a different extreme style.
only discusses the rheological issue of the image of the "little three", and does not mean to belittle actresses such as Li Xueqin).
The comparison between the junior in "If Running is My Life" (hereinafter referred to as "Running") and the original partner has caused some judgment from the self and the audience: Why is this woman no longer suitable to play the junior?
In "Snail House", Seaweed's cheating on the old man Song Siming is considered a normal plot, but once the genders are reversed, the focus of the trial shifts to the age and appearance of the junior, does this fall into stereotypes again?
However, instead of worrying about the question of who is worthy and who is not, or jumping into the trap of being scrutinized, it is better to give the mistresses more say, ** why they chose this man's motives.
That is, to examine not only the appearance of the mistress, but also the motive for them to become the three, because such a morally dishonorable character needs to have sufficient motivation to explain its existence.
Once you have an in-depth understanding of the motives, you will find that the current junior is probably only left with the weapon of "madness". After counting the images of female juniors in the past, it is not difficult to find that it is not surprising that the audience thinks that Chu Zhijuan and the like are rising.
From the first extramarital affair drama in the late 90s to the present, the three roles that stand out are all these: Lin Zhu played by Xu Qing in "Come and Go" in 98, Wang Chun played by Yu Feihong in "Holding Hands" in 99, and Seaweed in "Snail House", Ellie in "Coming Home", Ling Ling in "My First Half of Life", Lin Youyou in "Thirty Only", and now Chu Zhijuan.
The contrast is obvious, from conspicuous bewitching goods to ordinary passers-by. Compared with the original match, the appearance gradually transitions from absolutely crushing the original match to being far inferior to the original match. (This is based on the evaluation of secular aesthetics, and does not represent my main ** method of women's appearance) In "Come and Go", the old cadre played by Lu Liping was the original match and the trendy girl Lin Zhu.
Of course, during this period, the type of TV series changed from a male protagonist to a female protagonist, and the focus character also changed from a cheating man to a wife, so naturally the attitude towards the junior was also different. This change in attitude can be roughly divided into: helplessness - disgust - watching the play. At first, there is an ethical contradiction, followed by a deep hatred, even if it is far away. And now, it is the original partner and the junior who have teamed up to clean up the scumbag, which is more lively than a martial arts movie. This is in line with the changing style of the times. Let's start with the first case.
In the late 90s, the TV station first broadcast the extramarital romance TV series "Come and Go" and "Holding Hands", which are considered to be the first to understand the word "San'er". Among these dramas, the female mistress played by Yu Feihong and Xu Qing is probably one of the most popular characters. The audience even wrote to the TV station to complain when "Holding Hands" was on the air: "How can you choose such a pure and good-looking girl to play the junior?" It is conceivable that the audience may want to scold Yu Feihong but can't scold, so they can only vent their grievances to the TV station.
The choice of characters actually reflects the creator's intentions. These two three sons, in addition to the "stain" involving the relationship with a married man, are basically shaped in the way of positive characters and even heroines. Their motivation for "falling" is typical of cinematic: seduced by the passion of love. They really really like the male protagonist, and the male protagonists Wu Ruofu and Pu Cunxin in the play are both "a flower", they are outstanding, steady, and personable.
Lin Zhu fell in love with Kang Weiye, played by Pu Cunxin, because he was attracted by his ability and character: deep, steady, and restrained when he was calm, but once he fell in love, he would show a thunderous and affectionate and domineering side. Lin Zhu felt that this kind of charm was not possessed by young men.
Wang Chun has a relationship with Zhong Rui played by Wu Ruofu, in addition to the normal development of love, Zhong Rui shows what makes Wang Chun respect when dealing with things. For the sake of common belief, they even left the company one after another, which can be said to be the same weal and woe. Coupled with Zhong Rui's blurring of his wife's existence in front of Wang Chun, the two had a relationship under an impulsive passion.
The two put the motives of the three on the table, that is, it is excusable. They have a gentle personality and have struggled beforehand, before, and after.
Wang Chun remained relatively sober, accused Zhong Rui of selfishness, and commented on her beauty and intelligence after seeing her original partner Xia Xiaoxue (played by Jiang Wenli). In addition to being young, he admitted that he couldn't compare to her, and finally chose to leave on his own initiative.
Lin Zhu used to devote herself to love, but once she lived with Kang Weiye, the ability and charm of the man she once admired were greatly reduced. Coupled with the stagnation of her life and the accusations of her original partner, she finally chose to kill the child and leave.
Xu Qing later shared on "Wonderful Sayings" that Lin Zhu didn't care about being a junior, because the male protagonist and the original partner were introductory marriages, and there was no love later. Lin Zhu also didn't have **, and the male protagonist actively sought to divorce his original partner. This notion is very much in line with Lin Zhu, because she is an overly romantic and impractical little bourgeoisie herself.
Whether it is Lin Zhu or Wang Chun, you can say that their motives for becoming a third party are stupid and naïve, and it is difficult to say that they are shameful and dangerous. The audience's tolerant scolding of them can be seen, but the perception of seaweed is more complicated.
Seaweed is living with a bad husband, and in the future, it may become like a sister and brother-in-law who quarrel all day long for money, or is it dedicated to a married boss who can meet her desires?
This is a choice that is clearly demarcated in film and television dramas, but vague in the real world. scolded Seaweed for being confused, but he also knew that the ** given by Song Siming was too big.
Ellie in "Homecoming**" is no longer passively portrayed as an ambiguous and even piercing the complexity of reality, or she seems to be a vicious female second specially designed for the heroine's revenge drama.
Ellie's motivation for becoming a mistress has a bit of a hint of fighting Mien's eviction, she was raised by Pinru's family, and because she felt that she was being treated differently, she wanted to take away Pinru's things to make up for her lack (which she felt was supposed to belong to her).
Ellie's revenge mentality, which may be psychologically explicable for the sake of selfish desires, may be psychologically explicable, but it has the moral upper hand, even dark and unseemly.
Of course, judging from the traffic, "Coming Home" is undoubtedly the most successful extramarital love drama.
It opens a three-piece set of extramarital love dramas for future episodes to imitate: the original revenge theme, as well as famous stalks, famous scenes (**, etc.).
Following "Pinru's Wardrobe" and "You're so sassy", Lin Youyou licked Xu Huanshan ice cream in "Thirty Only", and Chu Zhijuan in "Running" "likes cheese flavor" and other cutting-edge tea science that continues to impact the three views for the audience.
The ** and private fanfare are exhibited out, which has the meaning of greeting the people who eat melons.
This is called taking the initiative to defile the motive of being three.
After going home, what is the motivation of the junior? Ling Ling wanted to be promoted and raised because of Chen Junsheng's good conditions, Jiang Xi wanted to be promoted and raised in "Good Things Come in Pairs", Chu Zhijuan was probably lonely, and Lin Youyou fell in love with Xu Huanshan inexplicably.
There is a clear distinction between the values celebrated by the basic and the traditional.
Le Ying needs to rely on her best friend to grab her boyfriend in the early stage, and be a bridesmaid at the wedding of the dog man and woman, in order to highlight the victory of the final counterattack, which makes them, the juniors, to a certain extent, become the driving force behind the counterattack of the big heroine. However, Ling Ling and Lin Youyou became the providers of the cheating man hated by the audience, and naturally stood on the opposite side of the original match. Jiang Xi and Chu Zhijuan regard men as tools and cooperate with their original partners to crack down on cheating men, which is in line with the concept of female unity. The former naturally incurs disgust, while the latter is pleasing.
Although the filming footage of Article 20 reflects a certain social mood, it is only for the pleasure of the moment. Unlike the male protagonists in "Come and Go" and "Holding Hands", the cheating men after "Snail House" basically seem despicable.
In "Thirty Only", Xu Huanshan showed incompetence, Qin Feng in "Run" is a giant baby, and Wei Ming in "Good Things Come in Pairs" is a model of a scumbag, and even has a ** shaking habit. And the junior has become a promoter of the plot, helping the heroine to take revenge, providing the audience with venting their emotions, and even satisfying their curiosity and pursuit of the bloody plot.
To give the most direct example, in "Come and Go", the original partner was told by a colleague that her husband had a tryst with a beautiful woman in the hotel, and rushed to the hotel in anger**, but found that the front desk informed the two that they had left. We know that the Chinese have always liked to watch ** dramas, but the series avoids showing adrenaline-pumping scenes and does not judge any character in advance. After all, once it is displayed, it is equivalent to publicly whipping the junior, which does not help the plot in any way except that it can satisfy the audience's curiosity. However, in later episodes, it is not only necessary to **, but also to be public, innovative, and in a more unique way**.
Lin Shuang discovered her husband's affair through nail art in "Good Things Come in Pairs". While observing her husband's co-workers, she spotted nail caps painted with manicures and observed them in the name of delivering coffee.
The plot of * is as gripping as a spy movie, especially in "Run", the angle through the outdoor elevator is tricky, and even the ** person is an embarrassing mother-in-law.
In this way, the plot of the mistress and the derailment begins to become as absurd as a comedy, full of contrasts and thriller effects.
I don't have any opinion on actresses like Li Xueqin, but if you look at it from the perspective of capital, what is the purpose of choosing these atypical beauties? It can't be to broaden the public's aesthetics, right?
This is the problem with the image of the junior after "Snail House": in the extramarital love drama more than 20 years ago, everyone has something to hate and pitiful, and the three of them are stuck in a net and can't break free. Only by frankly facing the established facts can it be possible to resolve the dilemma.
The extramarital love drama after "Snail House" became the "adulterer and adulteress" rotating dipping pig cage, initially the junior immersed in the pig cage alone, and later the cheating man immersed in the pig cage.
Jin Yucheng, the author of "Flowers", once disputed the simplistic and arbitrary labeling of human nature in "Thirteen Invitations". He said that if by today's standards, Vronsky in "Anna Karenina" would be labeled a scumbag.
It's pitiful that you sum up such a complex change in human nature in such simple words.
A few days ago, I revisited the movie "Sweet Honey" and found that when the male protagonist and the female protagonist played by Li Ming and the female protagonist Manyu rolled the sheets in Hong Kong, he had not broken up with his girlfriend in Tianjin. Suddenly, an idea popped into my head: Isn't this what I call a scumbag now?
After ** the whole movie in its entirety, I realized that it was too superficial to describe this complex male protagonist as scum. If everyone is expected to be white and flawless, then there will be no regrets, no stories, and even movies in the world.
Our deep understanding of fate, human nature, relationships, and emotions stems from works that dare to show reality and treat the "imperfections" of their characters with kindness and sincerity with a humble attitude.
How does "Snail House" depict the relationship between Song Siming and seaweed through the back of the paper? The mother of the seaweed said it very brilliantly:
Song Siming is just using seaweed.
to show off his successes.
Seaweed's love is not Song himself.
Instead, it was illuminated by the aura of Song.
A state of pleasure that she can get everything she needs.
"Come and Go" and "Holding Hands", the two big male lead dramas, although limited by the times, their creative thinking is very mature.
I remember that there was a sentence in the play, which bluntly explained the relationship of interests between the three people, and although the words were straightforward, they were so realistic:
What I endure is the hard process of his entrepreneurship, and what you enjoy is the fruits of his entrepreneurship.
The transformation of the male protagonist Kang Weiye began when he became rich because he no longer needed his wife, who shared his suffering, and he had the capital to pursue his passion. And how can the original wife be willing? The dispute has always been a struggle between her and her husband's interests. Although Lin Zhu was attached to this factor, she was still moved by emotion and reason, and did not vent her grievances on Lin Zhu.
Many things cannot be changed by you, they are determined by changes in nature, interests, and human nature. In "Snail Dwelling", the observation of male and female possession presents a different perspective, and Xiaobei is told by Haizao's brother-in-law:
Possession is like a battlefield for a man, once completed, although the victory is achieved, it will not be used for too long, and it will soon be retreated ......And the possession of women is similar to the cannibalization of bacteria, the expansion of cobwebs, and the expansion of marshmallows, which only manifest themselves after years of accumulation.
Everyone has their own grievances, and they all show selfishness and indifference, and true understanding, tolerance, and understanding can only be achieved on the basis of seeing the ambiguous areas.
"Come and Go" entrusts the fate of the protagonist to the audience with a humble attitude at the end.
Audience friends, can they help the protagonist choose a new path in life?
Yes, how can we find the answer to the question from the TV series.
But if the answer has already been set, wait for the audience to reveal the mystery for themselves.
How can the domestic junior not become more frenzied?